MUSIC REVIEWS : L.A. Philharmonic Group Displays the Depth, Versatility in Its Ranks

In demonstrating what may be a truism by this time, the Los Angeles Philharmonic Chamber Music Society--a changing contingent of Philharmonic players--gave evidence on Monday at Gindi Auditorium of the remarkable depth of talent within the orchestra’s ranks.

The crown of Monday’s concert was the Quintet in G of Dvorak, the young composer’s declaration of independence from Teutonic influences and pledge of eternal allegiance to the vigorous, varied folk styles of Western Slavonic Europe.

This marvel of energy and lyric invention was done full justice by a brilliantly adroit, idiomatically attuned ensemble comprising violinists Michele Bovyer and Lyndon Johnston Taylor, violist Ingrid Runde, cellist Gianna Abondolo and bassist Christopher Hanulik.

Earlier in the evening, there were the pleasures of an impeccably suave string trio--violinist Elizabeth Baker, violist Meredith Snow, cellist Gloria Lum--in the service of Mozart’s E-flat Piano Quartet.

But this was elegance taken to salon-ish excess, a consequence chiefly of the precious pianism of the evening’s guest, Artur Pizarro.

More rhythmic thrust, the occasional un-pedaled staccato phrase and a marginally faster tempo in the opening movement might have projected more of the inner strength, less of the surface gloss of Mozart’s sublime work.

The program began with 20 minutes of dead air in the form of a Quintet in E (circa 1825) by Anton Reicha, the convolutions of its central role cheerfully, sturdily attended to by Philharmonic hornist Robert Watt.