Online broadcast at svmusicfestival.org

One of the most exciting musical developments in recent years has been the increasing popularity of ensembles who use their classical training to seek out new musical frontiers or, to misquote the commander of the Starship Enterprise, to boldly go where no musicians have gone before. Prepare to explore the musical universe’s outer boundaries with intrepid ensembles, including Time for Three, the 442s, the Villalobos Brothers, and more.

Often considered Brahms’ greatest chamber work, the Piano Quintet in F Minor had a complex compositional history. Completed in 1864, it began life two years earlier as a string quintet, which was then transcribed for two pianos. In its final form, it is notable for its musical cohesiveness and a brooding quality that ranges from the tragic to the practically possessed. It is played here by a string quartet from the Festival Orchestra—Erin Schreiber, Shawn Weil, Shannon Farrell Williams, and Bjorn Ranheim—with Peter Henderson on piano.

Claude Debussy’s experiments in harmony and form changed the course of music history in a creative career stretching from 1890 to 1917. Principal Flute Linda Lukas plays Syrinx, a sinuous solo, which was originally intended as offstage music during a play but would come to redefine the capabilities of the modern instrument. The Edgar M. Bronfman String Quartet will then play the composer’s String Quartet, a tonally shifty and equally groundbreaking work whose sensual impressionism, in the words of Pierre Boulez, freed chamber music from its “frozen rhetoric and rigid aesthetics.”

A musical smorgasbord opens with harpist Julia Coronelli playing Debussy’s shimmering “Arabesque No. 1” (you’ll recognize it) followed by Schumann’s dreamy “Romance” for Oboe and Piano played by Erik Behr and guest artist Orion Weiss. Clarinetist Jason Shafer finesses Gershwin’s jazz-inflected Three Preludes before Polina Sedukh performs a 21st-century masterwork: Missy Mazzoli’s evocative Vespers for amplified violin and electronic soundtrack. Concluding the concert in martial style, Music Director Alasdair Neale conducts the orchestra in the colorful third movement from Tchaikovsky’s Symphony No. 6, the “Pathétique.”