Conducted by Jan Narveson February 22: The Baroque and Beyond concert at Theatre of the Arts was run nearly without benefit of CCE players, as so often. And here and there they didn't have quite their usual solidity. Chosei Komatsu makes no effort to sound like an authentic baroque stylist, and that was a good thing: all of the items on this program sounded very well in modern dress, and the masterly shaping of line and careful attention to balances paid off handsomely. As an excellent case in point, the opening movement of the Corelli Suite (three diverse movements set for orchestra) had a fine intensity about it, and the two quicker pieces danced enjoyably. The two odd items were by Boccherini (in A) and K. P. E. Bach (No. 4 in A), the latter especially quirky but fun and instructive. The first of two standout items was Mozart's 2nd Horn Concerto, very well played by Principal Hornist Carol Denison, who sounded well and played smoothly in the vir tuoso material, even if an occasional note wasn't all there. The Holberg Suite of Grieg brought things to a lovely end, and here again Komatsu's great care and attention to detail paid handsomely. It's a great piece and got a performance worthy of it. If this third B & B was a bit less exciting than some, it was solid and satisfying. Thursday: The Canadian Chamber Ensemble's third Chamber Music series concert, at WLU-MFH, had as astonishingly large audience, which cheered the performers no end and which we hope will be repeated. Proceedings opened with Previn's Four Outings for Brass, which had its share of novelties - a blues movement with a scotch snap in the main tune, and a 7/8 time finale. Interesting piece, except that the slow movement seemed too long. The brass players were in superb form, withal. Yellow Pages, by Michael Torke, proved a fidgety affair - this composer finds yellow a nervous color, it seems; its Coplandesque rhythms seemed to undergird some thematic development device, unfortunately not explained by conductor Komatsu. P. D. Q. Bach's Musical Sacrifice was next up, with delightful visual aids from the six players, who indicated entries of the main theme by popping up and then down again, etc. Great fun, splendidly played, and for those who know the Musical Offering of Bach, a wonderfully ingenious parody. Finally there was Brahms' Serenade, which we all know as an orchestral work, but actually started out in this form (one of each string, fl., 2 cl., hrn., bsn.). In too many places, one violin simply wasn't enough, and one could see the wisdom of rescoring for full orchestra; in others, such as the enchanting Menuetto, everything was fine. The dulled- down acoustic did their share to make things difficult - the horn simply couldn't ring out properly, the violinist was strangled on top of being outnumbered. But it is a quite won derful piece, and despite problems a good deal of the work's native ebullience shown through, especially because of the committed performance by our expert players; of whom clarinetists Ross Edwards and Pauline Minevich (who had the best bits and whose sound worked best in the acoustic) stood out. Friday: Peter Vinograde is a familiar at the KWCMS Music Room, this time figuring in a blend of solo and ensemble works, starting out with Bach's Toccata in D Major, which we found rather too percussive and strident, though granted it is a brawny work. One could argue the same for the opening of Beethoven's Sonata, Op. 111, but the great contrast between the high-tension opening movement and the searching variations in the long arietta was appropriate and in the end quite compelling; the ending seemed abrupt, though. After intermission, we were treated to the Mendelssohn Sextet for violin, 2 violas, cello, bass, and piano with Katherine Hubley, violin, Daniel Bush & Tracey Poizner, violas; John Helmers, cello, and Janet Auger, bass. This was the third playing of this piece by the strings, and Vinograde's second. But the ambiance was totally different; the combination of a big band, small room, full house (well outnumbering the miniscule gathering at the MFH in last December's outing with this piece) and superb piano brought the work to life in a most effective way. The performance was wholly appropriate: vivid, slightly raw, full of energy. Its slow movement has a perfectly ravishing theme, expanded in dialogue between the violin and piano against a gentle backdrop of strings, and entrancingly done by all concerned (plaudits to Katherine Hubley here). And its finale is an absolute romp, played in full-steam-ahead style that was al together exhilarating. There aren't encores for such an ensemble, but the pianist gave us the finale of Beethoven's 4th Symphony as arranged by Liszt, and while a bit roughish it too was suitably vivacious, and quite a handful for the pianist, who brought it all off grandly enough. Saturday: We heard only the tape of the Renaissance Singers' concert featuring music for Lent by English and Canadian composers, with Kenneth Hull conducting this time around. It was evident that he was in excellent control, and the choir sang with accuracy, expression, and, where called for, punch. The two Ave Verum Corpuses by Byrd (16th cen tury) and Imant Raminsh (late 20th century) seemed the two standout works - the earliest and latest pieces on this program by name composers, though the opening Rejoice in the Lord Alway (anonymous, 16th century) was very nice too. Also Saturday: The K-W Community Orchestra's winter concert was their first under the leadership of their new regular conductor, Fabio Mastriangelo. The difference made by this very talented leader was soon apparent. Handel's Entry of the Queen of Sheba was too tough for its oboists, but it had the sparkle and zest required nevertheless. In Mozart's Oboe Concerto, James Mason's sumptuous sound was, of course, the centre of attention, but the orchestral support was subtler and more interesting than in previous years. Elgar's Serenade for Strings saw the first true pi anissimos in memory from this orchestra, and despite a mix- up in the rhythm in the second movement, this piece, whose suitability for an amateur orchestra one could doubt, sounded right. For finishers there was Schubert's Unfinished Symphony. Here again the shaping of line and careful shading of sonorities was noteworthy, even if the lower strings weren't quite together at the outset. We did think that the second movement was a bit too fast, losing some of its lovely relaxed, reconciled quality - if perhaps gaining orchestral cohesion. Strong on dramatic contrast, good work by principal Virginia Lyons in the glorious clarinet themes, and from the trombones, made this a pretty satisfying effort. It will be interesting to see how the future of this orchestra develops under this obviously very talented young conductor. Sunday: At KWCMS Music Room, the duo called Open Line, consisting of Joseph Petric, accordion, and Guy Few, piano and trumpet, brought another super-interesting and varied program with them, starting with a brilliantly suitable Suite Frandcaix of Poulenc, a transcription of a transcription. Petric's aptitude for fine shading and etching was right on the button (so to speak), and the two work perfectly together. Another Viviani sonata for organ and trumpet brought Few's other instrument to centre stage. Nobody would have minded a couple more of these pleasant and showy pieces, given Few's beautifully rounded tone, which he controls so well that it is never painful even in the con fined spaces of the Music Room. Then we had two solo items from Petric, sonatas by Soler - admirably selected and played with stunning dexterity. Three interesting preludes for trumpet, solo in one case, by J.-M. DeFaye proved a rangy tour of contrasted moods. Schumann's Fantasy Pieces, Op. 73, utilized the accordion as a single-line instrument, and we did feel that it doesn't quite have the aesthetic heft needed for these heavily romantic pieces, despite wonderfully subtle playing. A world premiere was next: Boyd McDonald's Overture for Accordion and Piano (oops - no trumpet). It proved a splendid success, and we were particularly pleased (as was the composer, who was there) at the successful employment of the accordion's special qualities, affording remarkable textures and colors. Top-notch. Few closed with a solo trumpet piece, by Harry Simeone, Trumpet in the Night. Nice, but well down from the McDonald. Two encores in a different vein altogether closed the program, one contributed by local senior citizen of music, Walter Scholtes, a Romanian fantasy from times past; and Few in still another mode as he sang Danny Boy in his pleasant baritone, to a lovely accom paniment by piano and accordion. What a pair of versatile virtuosos! Too bad about the end-of-reading-week location, for this pair deserves an overflow audience. Forthcoming: Tonight: Student composers at the WLU Faculty of Music (MFH); free. Thursday, March 2: At KWCMS Music Room, again, the brilliant guitarist Norbert Kraft plus the superb violinist Moshe Hammer team up in their second program of Paganini sonatas for guitar and violin. (Filler pieces by de Falla and Piazzolla are also promised). Phone 886-1673 to see whether space is available for this deservedly popular team of two of this country's finest artists. Friday/Saturday: WLU's Opera Production, at the Theatre Auditorium. We don't know the program, but hear there's a pretty controversial item on it, if you go in for such - $15/$10 at door. Friday evening: There's a special pre-concert dinner with Dudley Moore, part of the fund-raising activity of the weekend for the Symphony. Call 745-4711 for details. Saturday,: The K-W Symphony Fund-raising special with Dudley Moore both performing (Gershwin's Rhapsody in Blue and Mozart's 21st Concerto) and chatting; plus Ravel's Bolero; Chosei Komatsu conducts. Tickets at various prices (standard: $60) - designed to help get the KWS through the year in one piece, and a very good time will certainly be had by all. 745-4711 for information; 578-1570 for tickets. Sunday: At 3:00 at WLU's MFH, Amy Hamilton directs the WLU Flute Ensemble. And at 7:00, Pauline Minevich directs their Clarinet ensemble. Both free. Sunday at 7:30, Centre in the Square: The K-W Youth Orchestra's winter concert Brahms, Academic Festival Overture; Tchaikovsky, selections from Sleeping Beauty and Swan Lake; Stuart Grant, Excursions; Copland, Fanfare for the Common Man (bras quintet); Saint-Saens, Cello Concerto - Cathy Anderson, cello (she is normally the Principal cellist). Tickets at door or 578-1570. Tuesday, March 7: The WLU noon-hour concert (12:00, MFH) features Roman Totenberg, violin, with Boyd McDonald, piano. Wednesday, March 8: At KWCMS Music Room, the Algonquin Trio, whose violinist and cellist are the Principals of Orchestra London. A Haydn trio, No. 18 (?); Mendelssohn's exciting No. 1 in d minor; and Ravel's elegant masterpiece in the form are on the program. Tickets $20 (sr., $15; st., $12.) UW Arts Centre, Provident and WordsWorth Books sell tickets to these concerts.