Birds – and possibly a few angels – flew through the Chapel of El Presidio on Sunday as the West Coast Chamber Orchestra played a mostly Bach concert.
The final work on the program, J.S. Bach’s sublime Brandenberg Concerto No. 4 in G Major, is where the birds were heard. Flutists Sheridon Stokes and Salpi Kerkonian, and violin soloist Alexander Eisenberg were in top form, as this well-regarded chamber ensemble was led by guest conductor Diego Miralles.
There is considerable magic in hearing Bach played in the setting of the chapel, which was standing-room-only for this concert. The only lighting were myriad candles in sconces and candelabras; the walk to the chapel was under a gray sky pointing up the blooming lavender-blue of the jacarandas. The entire experience was quite a feast for the senses.
Guest conductor Miralles led the second half of the program, which included Johan Pachelbel’s Canon and Gigue and C.P.E. Bach’s Sinfonia No. 3. The Pachelbel was unusually bright and melodic. The C.P.E. Bach led to the immediate thought, “The apple doesn’t fall very far from the tree.” C.P.E. was Papa Bach’s second son, who attained a splendid reputation in his own right, fully evident in this Sinfonia.
Kudos to Miralles, who is not only a vigorous and energetic conductor, but serves as principal cellist with the orchestra.
The first half of the concert was led by Christopher Story VI, longtime conductor and musical director of the West Coast ensemble. He has been its conductor since 1966.
Compositions in the first half included J.S. Bach’s Air on a G String and his Concerto for Oboe and Violin, featuring soloists Alexander Eisenberg on violin and Myka Miller on oboe. Both soloists distinguished themselves.
The first half ended with Jules Massenet’s romantic Meditation from Thais. Somewhere I remember reading that a silent film star – was it Theda Bara? – would play love scenes only if a violinist was on set playing the Meditation. One can certainly understand why.
Margo Kline covers the arts as a Noozhawk staff writer.