The Bedford Chamber, nearing the end of its season-long exploration of "Music of the Courts of Europe," presented an exquisite evening of music last Wednesday in the Fellowship Hall at St. Matthew's Church in Bedford, under the leadership of Music Director Anthony Newman.

The library setting, complete with fireplace, wooden floors and a high vaulted ceiling is a cozy and inviting space that has wonderful acoustics—and featured the chamber music, performed by the Sospiro Winds, perfectly.

The program was also perfectly balanced between the Beethoven and the Mozart quintets and solo works highlighting each instrument.

"I try to find some unifying topic that will interest people," Newman said of the program. "This year we are doing the courts, the year before we did the great cities and next year we will do the great instruments," he said. "Then I try and think what else will draw people in—food!"

As if the program and music weren't enough of a treat, the refreshments reflected Austrian specialties, including a delicious Viennese coffee with whipped cream.
 
The concert opened with the Rondo from Concerto in C for Oboe, K. 271 by
Mozart, a piece that is a transcription of Mozart's Concerto in D for the flute (and familiar to anyone who has been on hold with the Mount Kisco Medical Group).

Oboist James Austin Smith flew through the fast passages with effortless precision and produced a wonderful cadenza at the end.

Staying with Mozart, Newman then went to the clarinet with the Adagio from concerto for Clarinet K. 622. Romie de Guise-Langlois is an outstanding clarinetist. Her Adagio was light and fun—she made a difficult piece sound simple to play. Her love of the clarinet came through in her performance.

The first half of the concert came to a close with a heavier offering by Beethoven, the Piano Quintet in E flat Opus 16. Newman said it required a bigger effort, but the work paid off. It was wonderful.

Mozart's lightness and humor against Beethoven's heaviness and angst was a musical yin yang. It was so impressively performed that you could hear an audible, "Wow," in the audience as the last note lingered in the air.

The second half opened with bassoonist, Adrian Morejon playing Vivaldi's
Allegro from Concerto in E for Bassoon, KV 191 (186e). Executing a refreshing shift in tone, Morejon captured Vivaldi's joyfulness so perfectly it was the happiest piece on the program.

This piece was the perfect palate cleanser between the Beethoven and Mozart works.

Then hornist Alana Vegter took the stage to perform Mozart's Adagio from Concerto #4 for Horn, K 495. Vegter has a melting sound that highlighted the warm of both the instrument and movement.

The concert closed with Newman's second-favorite piece on the concert program, Mozart's Piano Quintet in E Flat. K 452. (It was a close tie with the Beethoven Quintet, Newman said after the show.) The Quintet was a gorgeous blend of color and sound.

While every performer got a chance to shine as a soloist, the unifying force between all of them was Newman's piano accompaniments. His piano work was light, precise and helped everyone sound their best. His knowledge of musical history and trivia is astounding and it was clear that he loves not only the music but the history and stories that surround it.

Following the performance, Newman stepped out from behind the piano and talked
to the audience about the composers and their works, creating an intimate feeling among the performers and the audience, which sums up what chamber music is all about—music enjoyed in an intimate setting.

Newman said he wanted the audience to simply enjoy and feel the music. "If the
audience feels uplifted by the music, then that is enough for me."

The Bedford Chamber Concerts final concert for the year, The Court of France
from Louis XIV to Napoleon III, well be held on May 5,th. For information e-
mail Bedford.concerts@verizon.net or call 914-234-3984 ext. 28.