Everything must come to an end

We finally had the chance to honor Charles Wadsworth with his very own standing ovation at the final program of the Chamber Music Series at Memminger Auditorium on Saturday afternoon.

Our much-loved and respected host announced that while he will still do "full-scale touring and everything," he is retiring from playing professionally and single-handedly arranging this series at the end of next season, his 50th consecutive year with Spoleto festivals.

When Gian Carlo Menotti first asked Wadsworth in 1959 to initiate a chamber series in Italy, Menotti directed, "Get artists exciting to the public, no printed programs, and make them informal."

While the maestro has stayed true to the intent of Spoleto's founder, Wadsworth's vision has ensured the overwhelming popularity and success of this genre often considered inaccessible, esoteric and stodgy.

Not any more. Wadsworth's ever-inventive programs and his uncanny sense of choosing exactly the right combinations of musicians were proved once again by Spoleto USA's Chamber XI, where all the artists still in town participated.

For this last concert in the series, Eric Ruske's fulsome French horn sprinted along with Pedja Muzijevic's piano in a number by composer Marin Marais.

Antonio Vivaldi wrote more concerti for bassoon — 38 —than he did any other instrument besides violin. Peter Kolkay made light work of the demands of this concerto in A minor, using his mastery of intricate fingering and controlled breathing to sail through runs with heart-stopping speed and accuracy.

Yoon Kwon and Scott St. John on violin, Daniel Phillips on viola, cellist Alisa Weilerstein and double bass Ed Allman joined forces to provide well-articulated accompaniment.

While it is always a challenge to allow the lightweight sound of the harpsichord equal voice, these quintessential pros tempered whatever needed tempering to balance Muzijevic in this characteristic romp.

Talk about saving the best for last: Nobody could go home without Franz Schubert's "String Quintet in C Major," D. 956. The St. Lawrence String Quartet and Weilerstein played with authority and grace this heavenly music full of tenderness, warmth and love. The first movement allegro opened up the skies, while the following adagio was a study in contemplative quietude, lyrical legatos punctuated with lots of plucking.

The third movement was interrupted by applause, but nothing could spoil the beauty of the gypsy-like scherzo.

Written near the end of Schubert's tragically short life, this masterpiece is Wadsworth's traditional end piece.

Everything must come to an end. But we'll talk — next year.