G. Chou, C. Wu, M. Dahlberg July 18

RARELY PLAYED BEACH TRIO HIGHLIGHTS PIANOSONOMA CONCERT

Arriving attendees at the July 18 PianoSonoma Schroeder Hall concert saw something new at stage right, behind the house piano – two sofas, a side table, lamp, a wine bottle and six musicians.

It seems the performing brotherhood of this eclectic summer festival spilled over to have all the performers on stage when at least one of them was making music. Novel, and leading into a little Shubertiad with pianist Christine Wu playing four of the Ländler from D. 790, and the Moments Musicaux No. 3 in F Minor.

The composer’s “sunshine in music” was on display in the dances, the No. 5 languorous with a touch of sadness, and the eighth was svelte, echt Schubert. Ms. Wu avoided the popular Godowsky arrangement of the Moment, lovingly playing with small forte passages and a slow, soft ending.

Amy Beach’s late life Piano Trio Op. 150 was perhaps the program’s center and received a committed 16-minute performance by violinist Gabrielle Chou, Michael Dahlberg (cello) and pianist Sasha Kasman Laude. New Hampshire-based virtuoso pianist and women composer scholar Virginia Eskin has brought much Beach music back into view, and though the Trio lacks the force of the 1897 Piano Quintet, there is enough going on here harmonically, though conventional in 1938, to produce rich thematic textures and sterling ensemble. The Lento espressivo was played with surging sound, but also with reticence and tight instrumental control. Playing in the finale was laconic, the piano in a rumbling ostinato and often too loud, leavened by a lovely cello-violin duo.

William Grant Still’s Mother and Child (second movement) from his violin/piano Suite was warmly performed by Ms. Wu and violinist Doori Na, the wide string vibrato and intonation making the theme captivating. This music seems richly American.

Korngold’s music has had a recent surge of local popularity, and the song section (IV) from his Op. 23 Suite for two violins, cello and piano (left hand) shows why and was an evening highlight. The quartet began with a slow threnody theme, Mr. Na in high register, and moved to a big violin theme that almost cried out, long-held notes and an unexpected middle pause increasing the effect. The piano part (Peter Dugan) effectively supported the ensemble, the “stage family” proving again that the composer’s late non cinema music is more gold than corn.

The concert was another triumph of PianoSonoma’s provocative programming and authoritative performances.