Violist Paul Neubauer

EVEREST AND A MAGIC STEED

Program three of SSU’s ongoing ChamberFest, directed by Jeffrey Kahane, was an afternoon concert and opened with Mozart's E-Flat Divertimento string trio, K. 563, a piece in its own category and a first of its kind when composed by Mozart in 1776. Many string quartets by that time been composed and the string trio afforded composer and performers new challenges in exploiting the solo and ensemble qualities of the violin, viola and cello.

David Sawyer of the Guarneri Quartet called this trio "the Everest of chamber music.” Violinist Benjamin Beilman, violist Paul Neubauer and Desmond Hoebig (cello) played as equal partners, a musical choreography of sonorous woven lines. The Allegro displayed solo, duet and trio aspects with glorious sound and beautiful dynamics, all details audible in the excellent Schroeder Hall. Unisons sang, and the playful, tender music was transparent and seamless. The Adagio commenced with a rising cello arpeggio and throughout motives were passed to the violin and then the viola with sweetness and a sense of generosity. Mr. Beilman's violin playing was poetic, a mixture of intelligent control and spontaneity, and the viola provided a sense of connection in the center, and the cello line supported and enhanced.

Then came the first Menuetto, with its rhythmical humor through hemiolas and syncopations, teasing the music with escapes from the expected three quarter meter into fours and twos, and playing with shifting units of time. The Andante was a Theme and Variations, and starting with a simple folk-like tune each variation was like a character in an opera with an individual  personality and dramatic role.  The phrasing and layering were captivating as there was a smile of joy on Mr. Neubauer’s face as he looked back and forth to one and then the other of his partners. Mozart is known to have played the viola part in this Divertimento and perhaps smiled often as well. The final Allegro, bursting with energy, was a vigorous and happy ending to this musical tale. The audience rose and shouted with joy.

The second half was the popular Mendelssohn D Minor Trio, Op. 49. As Mr. Kahane commented from the stage, it is a warhorse of the literature and with good reason. Perhaps a more appropriate image would be a fine magic winged steed, carrying us through worlds of wonder. Along with all great works, Mendelssohn here sings of those things that have no spoken words.

The first movement opens with cello melody and the restless piano accompaniment that runs through the trio. The lyrical romantic melodies pass among the instruments and  the piano has cascades of sparkling motion, delicate and powerful. Mr. Kahane played the rarely-heard Fazioli piano like a magician. Violin and cello, individually and together, soared high and the sound flowed naturally. All the excitement and agitation were contained in a landscape of elegance. The emotional intensity continued into the Andante with its intertwining of three instruments lovingly complementing each other. The tempo was flowing with long sustained phrasing.

Following this, the Scherzo was from the world of Mendelssohn's Midsummer Night's Dream. The ensemble took an incredibly fast tempo, with light quiet dynamics, and drew on a musical imagination filled with flitting spirits and the stuff of dreams. Fairy dust filled the hall. The Finale was vigorous and full of romantic fervor and capricious mood changes. The playing sometimes reached the edge of being frantic, only to melt into expansive melodic phrases.

Loud applause released the audience's excitement, and in the following Question and Answer period with performers and audience Mr. Kahane expressed a seemingly shared opinion that nowhere in the world can you hear better chamber music.

Nicki Bell contributed to this review.