Above: Fanny Mendelssohn ~ Clara Schumann
~ Author: Oberon
Tuesday November 14th, 2023 - Chamber Music Society of Lincoln Center offering an evening of trios, featuring pianists Michael Stephen Brown and Juho Pohjonen, violinists Paul Huang and James Thompson, and cellists Sihao He and Paul Watkins.
The evening opened with Fanny Mendelssohn's Trio in D-minor, Op. 11, which was composed in 1847; it was her last major work - a birthday gift for her younger sister Rebecka. Not long after, Fanny suffered a stroke and passed away.
The trio starts with an Allegro vivace molto, with Michael Stephen Brown's rolling piano figurations soon joined by James Thompson and Paul Watkins harmonizing. A rich cello theme is introduced, and then taken up by the violin; the three then play in unison. Following a suave violin passage and restlessness from the keyboard, the music turns passionate, with piano scalework under-pinning a melodious outpouring before reaching a brilliant conclusion.
Introducing the Andante espressivo, Mr. Brown offers a lovely, pensive solo, the harmonizing strings joining; the pianist continues to lead, with the strings as accompanists. A sense of longing develops. Mr. Thompson's shining timbre and the mellow beauty of Mr. Watkins' cello constantly tug at the heartstrings.
The Allegretto is an extremely brief lied, the piano passing the melody line to the violin, the cello in its low register. A piano cadenza (which has an improvisational quality) introduces the final Allegro moderato, which has a waltz-like feel, with its harmomized strings sounding rather à la Russe to me. Violin and cello converse, various themes spring up - alternately passionate and poignant - leading to a dazzling finale.
Clara Schumann's 1846 Trio in G-minor, Op. 17, brought Mssrs. Brown and Thompson back to the stage, now joined by cellist Sihao He. The first movement, Allegro moderato, commences with a rather melancholy violin, from which the piano takes over. Mr. He's cello lingers in the lower range as the three voices unite in a lyrical blend. Subtle shifts in the pacing give the music a particular appeal.
The Scherzo starts with a light-hearted violin melody, with the deep violet colour of the cello giving the music a velvety cushion. The movement flows on in a graceful minuet; a brief da capo leads to a charming finish. Mr. Brown's dreamy playing sets the mood for the waltz-like Andante, and the entwined sounds of violin and cello enchant the ear. Mr. He takes up the theme, and wistful harmonies evoke feelings of tenderness and tranquility, sometimes tinged with a trace of heartache.
The trio's final Allegretto has a restless feel; the blending in of minor-key elements bringing gentle mood swings. A fugue springs up, and Madame Schumann's writing gives us ample opportunity to savour the fantastic blend our three artists achieved.
From Johannes Brahms came the concluding work: his Trio in B-major, Op. 8, written in 1854 and revised in 1889. A few years ago, a friend told me that the music of Brahms would become more meaningful to me as I grew older. Oddly, the opposite has happened, and nowadays I find myself less inclined to seek out programs featuring his music. The music of Sibelius and Dvořák has also lessened in appeal for me over time, whilst the works of Mendelssohn, Prokofiev, and Stravinsky remain major draws for me. The one Brahms exception would be the ever-radiant Alto Rhapsody...though I wouldn't say "no" to the 4th symphony or the violin concerto.
With that in mind, I tried to embrace the composer's Opus 8 this evening, in a magnificent performance by Paul Huang, Paul Watkins, and Juho Pohjonen. The opening Allegro con brio featured gorgeous playing from all three, with melodic motifs passed from player to player, the music passionate one moment and serene the next. The Scherzo was very enjoyable for me, as it has an irresistible Mendelssohnian quality...like the fairy music of Midsummer Night's Dream.
But the unusual Adagio, with Mr. Pohjonen spellbinding in the reverential opening sequence, was almost too peaceful. Indeed, it seemed several people seated around us nodded off. The uneasy start of the concluding Allegro - its sense of quiet urgency - revived me. And then the music becomes grand, leading to a darkish and tempestuous conclusion.
The three musicians were called out twice, to a standing ovation. Their playing was exemplary, but I found myself wishing they had played Amy Beach rather than Brahms tonight.
~ Oberon