Above: The Boston Trio: Heng-Jin Park, piano; Jonah Ellsworth, cello; Irina Muresanu, violin
Author: Oberon
Thursday September 28th, 2017 – Inaugurating my 2017-2018 Carnegie season with an ensemble new to me – the Boston Trio – in concert at Weill Hall. In terms of both programming and playing, the evening (aptly sub-titled Wheel of Colors) was a genuine pleasure; a large and very attentive audience made for a congenial atmosphere.
The program was finely-constructed, with some ‘new’ music to begin, followed by an incredibly inventive arrangement of a symphonic classic, and concluding with a familiar and beloved Dvořák piano trio. We sat close, on the keyboard side, and were deeply immersed in the music. The pianist wore red, the violinist a lovely pale lemon-yellow frock, and the cellist an open-collar blue shirt; they were as pleasing to watch as to hear, and Ms. Muresanu’s elegant posture was an added delight.
Jennifer Higdon: Piano Trio
I. Pale Yellow
II. Fiery Red
I admit to being unfamiliar with Jennifer Higdon‘s music, though her name figures prominently among current composers. The two movements of Higdon’s Piano Trio seemed like miniature tone poems, and they were superbly played by the Boston Trio.
In the first, Pale Yellow, the composer reveals a romantic bent: the music is lyrical, melodious, devoid of angularity. Yet while harkening back to a more gracious era, the piece seems utterly contemporary and fresh. It served as a perfect introduction to the three artists of the Boston Trio.
Pale Yellow begins with a wistful passage for the piano; the cello comes in on a soft, sustained tone. The violin joins, entwining its voice with the cello in close, intriguing harmonies. The music flows lovingly: the cello sinks to the deep range as the violin sings high and sweet. Our three players develop a warm resonance of sound and then the music turns turbulent before rising…soaring. There’s a sort of coda, with the violin again lingering on high. A lovely, gradual resolution leaves the audience in a spellbound state.
A complete volte face for the second movement: Fiery Red is aptly titled. It commences with violent energy, Ms. Muresanu slashing her bow across the strings. At the piano, Heng-Jin Park strikes up a dynamic dance, but suddenly things come to a halt. Then the strings begin to buzz as the piano gets a bit jazzy. This develops into a plodding piano figuration as violin and cello pluck away. An energy build-up sends the violin and cello high with a scratchy edge to their playing. From a piano heartbeat, the volume amps up and the music starts to sway heavily. Musical peaks and valleys eventually surge forward to the ending.
Great playing from all three musicians, and the audience really seemed to be soaking it all in. Now I need to hear more of Higdon’s music: it’s refreshing to find a contemporary composer who in unafraid of melody and sentiment on the one hand, and who can then can turn bristling and quirky moments later.
After the briefest of pauses, the trio returned for the Debussy.
Debussy/arr. Beamish: La Mer
I. De l’aube à midi sur la mer
II. Jeux de vagues
III. Dialogue du vent et de la mer
The idea of hearing Debussy’s La Mer arranged for piano trio was a key factor in my decision to attend this concert. Sally Beamish, London-born violist and composer, arranged the Debussy masterwork in 2013 for the Trio Apaches, a British ensemble. I can only marvel at what Ms. Beamish accomplished, and marvel further at the Boston Trio’s splendid playing of the piece.
There’s no sense of miniaturization or of anything being ‘left out” in Ms. Beamish’s adaptation: the sound our trio produced tonight had a quite amazing orchestral quality, and Debussy’s reputation as a colorist didn’t suffer at all as they played with such depth both of tone and of feeling.
Ms. Beamish hands much of the responsibility for the success of her setting to the pianist, and Heng-Jin Park seized on the opportunity, playing beautifully and conjuring the mood shifts of each of the three movements.
The pianist commences De l’aube à midi sur la mer quiet and low, and the tremelo strings join in, developing a sense of mystery. Dense textures evolve, with gently rocking waves evoked by the strings; later, piano and cello pulsate with a violin overlay. Taking on a symphonic quality, the three players bring out delicious colours. The violin shimmers, the cello sings deep, the piano is luminous: sustained, heartfelt, passionate playing from all.
Rippling sensations from the keyboard open Jeux de vagues, with the strings in agitation. Heng-Jin Park gracefully executes the melismas that Debussy originally assigned to the harp – so atmospheric – and Ms. Muresanu’s trills are a further attraction. The music fades into a hazy mist.
Low grumbling from Heng-Jin Park’s Steinway and a restless passage from Mr. Ellsworth’s cello set Dialogue du vent et de la mer on its way. The restless yearning of a downward-bending 2 note/4 note motif that recurs in this movement is a signature element of La Mer, and Ms. Beamish’s arrangement employs it intriguingly. The depth of sound the three musicians achieve is most gratifying, and contrasts magically with the calm stillness of the piano repeating the main motif. This theme is taken up by all three, with a build-up of ecstatic tension.
Experiencing the Debussy in this intimate setting is something I’ll always remember; roses for Ms. Beamish to hail her accomplishment, and gratitude to the Boston Trio for bringing the work to us, and playing it so very well.
Following the interval, Dvořák provided an ideal conclusion to the evening.
Dvořák: Piano Trio in F Minor, Op. 65
I. Allegro, ma non troppo
II. Allegretto grazioso
III. Poco Adagio
IV. Finale. Allegro con brio
With the new music and the Debussy arrangement behind us, I simply let the familiar Dvorák play on, genuinely savoring the artistry of the three musicians and vastly enjoying their performance. My companion of the evening, choreographer Claudia Schreier, spoke afterwards of experiencing a deep connection both to this music and the Boston Trio’s performance of it.
A full-house standing ovation followed the Dvorák; the musicians came out for a couple of bows, and, as it became evident the crowd wanted to hear more music, the trio graciously gave us the Presto from Haydn’s C-major trio. This music is sparkling, with a somewhat ironic quality, and with a darkish interlude. It showed off the three players superbly and brought the evening to a merry end.
~ Oberon
Oberon's Glade 
