The Border Quintet

When Cindy and I were college students, we attended at least one recital every week (I was, after all, the stage manager at Daniel Recital Hall at Furman University). Since graduation all those years ago, I could probably count on one hand the number of symphony concerts and recitals we've attended. Until last night, the most recent one was the night before our first Cape Cod marathon, two years ago. Chris and Pam took us to see the Colorado Quartet at The Church of The Messiah in Woods Hole, MA.

Sunday night, I received an email from a friend of ours, informing us that his new performing ensemble, The Border Quintet, was giving it's debut performance last night at St. Paul's Episcopal Church in Fort Mill. (The really interesting thing about all this is that I'm a native of Fort Mill, for the past 18 years have lived two blocks from this church, and have never been inside until last night.) Cindy and I decided we would walk over to the church after Jessi's volleyball game and hear Chris' group. We were treated to some lovely chamber music, got to see some other musician friends we haven't seen for awhile, and in the process received an affirmation that, indeed, the music is perpetual and my hearing is intermittent.

The quintet is comprised of local musicians: Maury Wilkinson (flute), Melanie Montgomery (oboe), Deborah Loomer (clarinet), Kristen Wright (bassoon) and Christopher Griffin (horn). For their debut, the group selected Theodor Blumer's "Quintet, Op. 52", Darius Milhaud's "La Cheminee du roi Rene" and Carl Nielsen's "Quintet, Op. 43". I enjoyed all the selections, but it was the Nielsen that really touched me.

The Nielsen quintet consists of four movements and displays the wide range of sounds characteristic to each of the instruments. I discovered a golden nugget of truth in the theme and variations of the third movement, "Praeludium". Throughout the quintet, I noticed the bassoon and horn constantly working together, almost as if they were the continuo of a baroque fugue. At times one voice would finish a phrase begun by the first. At other times there was almost a "call and answer" in process, and there were also passages that were played together, either in harmony or in unison. The two instruments were in almost constant communication. I say "almost" because there were times when the "busy-ness" of the upper voices was dominant, and drew my attention away from the horn and bassoon. Then it hit me.... isn't my relationship with God just like that? God went to great lengths to enable a constant communication and fellowship, but yet I allow myself to be distracted at times, even by things that are pleasing and good in and of themselves.

I read in the program that the theme on which Nielsen based the variations is one of his own chorale tunes, Min Jesus, lad min Hjerte faa en saaden Smag paa dig (My Jesus, make my heart to love thee). It is my prayer today that my heart will be more attune to my Lord's, and that my hearing will be a little less intermittent.

Thank you, Dr. Griffin, for your invitation. It was an evening well spent.