~ Author: Oberon
Sunday July 15th, 2018 – The last of Chamber Music Society of Lincoln Center‘s Summer Evening concerts for 2018: perfect playing from a quintet of wonderful artists in music of Mozart, Weber, and Schubert.
Nothing sets an evening of chamber music on its way to finer effect than Mozart: his Quartet in C-major for Flute, Violin, Viola, and Cello, K. 285b dates from the 1780s and was the last of three quartets Mozart wrote for the amateur flautist Ferdinand De Jean.
The quartet is in two movements: the opening Allegro finds the sound of Sooyun Kim’s flute floating on the air over an elegant string accompaniment; her tone is delicious, her ruby-red gown a delight. Her colleagues – Erin Keefe (violin), Paul Neubauer (viola), and David Requiro (cello) – have a lovely feel for the pacing of the music, which occasionally veers into the minor…and back.
The first movement comes to a pretty end, then the Andantino begins with the players harmonizing to fine effect. The music has a gentle pulse, and we can savour the velvety texture of Mr. Requiro’s cello sound. Ms. Keefe commences a theme, echoed by Mr. Neubauer’s viola and then the cello launches a fresh idea. Following a cadenza for Ms. Kim, the strings pulse gently as the flautist sends forth a sweet song which she repeats before the quartet reaches a light and charming finish.
Carl Maria von Weber’s Trio in G-minor for Flute, Cello, and Piano, Op. 63 (composed 1818-19) – a gem of a piece – was superbly played by Ms. Kim, Mr. Requiro, and pianist Orion Weiss. von Weber is best-remembered today for the overture to his opera OBERON and for the irresistible Invitation to the Dance which inspired Fokine’s romantic ballet Le Spectre de la Rose. Weber’s music abounds in melody, and his music often seems like German bel canto.
The opening Allegro moderato begins with a somewhat mysterious piano passage, then Mr. Requiro’s gorgeous-toned cello enters, followed by Ms. Kim’s flute, weaving together in a lovely mix. The three voices dovetail perfectly in a da capo, and the movement ends on a sustained flute tone.
After a dramatic start, the Scherzo turns Spring-like, with the flute spinning out a tune accompanied by waltz figurations. In the Andante, entitled ‘Schäfers Klage’ (‘Shepherd’s Lament’), piano and cello seem to imitate a guitar; then each voice takes the melody in turn. Shifts from major to minor are intriguing, and – after a brief flute cadenza – comes a calm finish. Mr. Weiss commences the Finale quietly. As the pace builds, the flute takes up a tune: Ms. Kim and the pianist really sparkle here, and the music is fast and fun. After a lull, the three musicians take a da capo and sail on to a lively ending. The audience lavished them with enthusiastic applause, and deservedly so.
Franz Schubert’s 1827 Trio No. 1 in B-flat major for Piano, Violin, and Cello, D. 898, Op. 99, filled the program’s second half. As chamber works go, it is quite long; the composer makes numerous repeats of themes throughout the four movements, and to me it seems his best ideas come in the first two. But, played as it was tonight, this trio became quite engrossing.
The first movement, Allegro moderato, has an almost triumphant start; as the music calms, lovely nuances are brought forth by Ms. Keefe, Mssrs. Requiro and Weiss. The pianist, who was truly marvelous throughout the evening, plays a fresh melody over plucked strings. Another winning theme passes from cello to violin. In alternating passages of delicacy and melodrama, the three musicians display the agility and passion of their impeccable playing.
The Andante has a peaceful opening, and Mr. Requiro shines yet again in a radiant melody that is then taken up by Ms. Keefe to ravishing effect. The gently animated Scherzo has a Mendelssohnian grace, but as it neared its end, a cellphone went off to disastrous effect. Yet the players were able to re-establish the mood in the charming, light, and brilliant Allegro vivace finale, much to the delight of the crowd.
~ Oberon
Oberon's Glade 
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