Violinist William Shaub Brings the Grit & the Glitz

By Diana Skinner: Who would have thought you could get 500 people to come out on a hot and sticky Friday night to hear string trios and quartets? Violinist William Shaub, clearly. Shaub, Concertmaster of the Knoxville Symphony Orchestra, and three of his orchestral soulmates were celebrating the release of their album, Grit & Glitz. And celebrate they did, in Knoxville’s spectacular Cathedral of the Most Sacred Heart of Jesus, presented at no charge to the public by the Cathedral Concert Series. The evening’s theme was not only a reference to the cornerstone work of the same name by composer Dosia McKay, but also befitting the overall spirit of the programming and the artists. Let’s start with McKay’s positively captivating work, Grit & Glitz for String Trio. The piece was inspired by McKay’s experiences during her days spent living in Brooklyn, where she found the borough to be both ritzy and gritty. This dichotomy was beautifully captured in her writing, which went from highbrow sophistication to a downhome jazz hall vibe. Shaub, violist Joshua Ulrich, and cellist Adam Ayers, made a convincing case for this work to be heard and embraced. Simply put, it’s just a whole lot of fun. Another stellar work was Loop by Kennedy Center Composer-in-Residence Carlos Simon. Written during the pandemic, Loop is Simon’s nod to the feeling of going loopy during that crazy time. I’d previously heard the piece performed by Shaub and was captivated by it then. It stood up strongly on second hearing and was clearly an audience favorite. Joined by violinist Gordon Tsai, the quartet performed Felix Mendelssohn’s String Quartet No. 6 in F minor, op. 80 with all the youthful energy and heart-on-your-sleeve emotion you’d want from young artists. As I’ve always believed about the string quartet repertoire, this is where composers did some of their most adventurous experimentation. Such was true, without question, in 36-year-old Mendelssohn’s "requiem" to his beloved sister. The complexity of Mendelssohn’s harmonies and the almost violent exploration of this tragic loss made for a raw and moving performance as the quartet guided us through the various stages of grief. The program ended with Astor Piazzolla’s Libertango (arranged for string quartet), a piece that had the audience immediately on its feet at the dramatic conclusion. And that brings me to the joy I felt in hearing and seeing the obvious elation these musicians had brought to their audience. This wasn’t one of those obligatory standing ovations, rather, a spontaneous outpouring of joy. My focus on repertoire is a testament to the performers, who graciously put the spotlight on the music and not their performances of it. But their humility won’t stop me from singling them out. There are violinists with Shaub’s uncanny technical ability who can sound robotic. But there is nothing robotic about Shaub’s playing. He leads with emotion while his facile fingers are always able to deliver exactly what the music requires. The pairing of Shaub and Tsai made for a tight ensemble throughout, matching intensity note for note. Shaub has found his emotional doppelgänger in Ulrich, who coaxes every iota of sound from his viola. Ulrich is a joy to watch, as he simply cannot contain his joy and enthusiasm. As for cellist Ayres, his spot-on intonation and precise rhythm would be enough to make him a standout. Add to that his particularly soulful vibrato and resonant sound, well, it’s clear he creates the foundation upon which the upper strings can depend. Kudos not only to the performers, but also to Glenn Kahler, Executive Director of Cathedral Concert Series, who so eloquently stated at the concert’s opening, "This is a series whose mission is to orchestrate unforgettable experiences for audiences, foster artistic excellence, and build bridges that connect communities through the universal language of music." As for the concert delivered by Shaub and friends, to that I say, mission accomplished! Note: The Mendelssohn string quartet was a last-minute substitute for Cesar Franck’s Piano Quintet, which is included on the Grit & Glitz album.You might also like:

• For the Record, Op. 286: 'Grit and Glitz' with William Shaub and Friends
• Violinist William Shaub: Recital Programming for the 21st Century
• A Blossoming Chamber Music Festival in East Tennessee

* * *

Enjoying Violinist.com? Click here to sign up for our free, bi-weekly email newsletter. And if you've already signed up, please invite your friends! Thank you.