MUSIC REVIEW : FUN WITH BEETHOVEN, SCHUBERT

The powers that be at the Pacific Symphony must have spent hours coming up with “ConnoiSCR Concerts” as a title for their chamber series, the latest installment of which took place Monday night.

Nevertheless, the events presented amid the often gaudy, unwieldy play sets on the stage of South Coast Repertory--that’s where the SCR comes from--gave Orange County residents numerous opportunities to hear great chamber music played by professional musicians in a small hall.

So what have these those residents done for most of the series? They’ve stayed home. On Monday, the intimate theater was less than half full with “ConnoiSCRs.” And this for a program of rarely heard masterworks by Beethoven and Schubert.

Led by the confident playing of the Pacific Symphony’s concertmaster Clayton Haslop and principal clarinetist James Kanter, a contingent from the orchestra offered convincing if not always note-perfect renderings of Beethoven’s Septet and Schubert’s Octet.

These works made amicable companions on the program, and not just because of the similarity in scoring. Each calls for violin, viola, cello, double bass, clarinet, bassoon and horn--with a second violin added in the Schubert. But these two crowd pleasers also share a richness of memorable tunes, bouncy rhythms and exciting ensemble interplay.

Indeed, the musicians seemed to be having the most fun of all. Despite occasional difficulties in matters of pitch--notably in the final movement of the Beethoven--the assembled forces gave spirited performances.

Dwarfed by the two giant picture frames from the set of “Charley Bacon and His Family,” Haslop, Kanter and company brought commendable ensemble balance to the two works. The Schubert seemed to present the most difficulties, more from its sheer scope than any technical hurdles (although the complex counterpoint of the finale resulted in a few loose ends). The first, long-winded Andante retained a sense of continuity, but the bulk of the octet was hampered by a lack of focus.

Beethoven’s early Septet brims with youthful energy and delightful tunes. It’s amusing and fun--no wonder the composer later tried to disavow it. The performance, highlighted by an affecting Adagio, never lost the warmth of that sprightly opening movement. Kanter’s mellow, expressive clarinet is tailor-made for such intimate music.

For the record, the players--in addition to Kanter and Haslop--were John Wittenberg, violin; Dmitri Boviard, viola; Sebastian Toettcher, cello; Steven Edelman, double bass; David Riddles, bassoon, and James Thatcher, horn.