Trio triumphs in romantic musical renditions

Author: Will Ceurvels

The Florestan Trio is a chamber group for whom musical performance is as much intellectual as it is aesthetic. Take Susan Tomes, pianist and founding member, whose professional activities extend beyond the group to her regular contributions as a musical commentator for The Financial Times and The Guardian, as well as authoring her first book on performance entitled Beyond the Notes. As with all groups committed to the European tradition of chamber music, the trio understands the composition as a product of the composer's biographical history combined with the particular classical musical paradigm of the time. As such, every motif and phrase has the potential to evoke some meaning and every composition becomes a historical document.

In light of the Trio's commitment to "make the expressive purpose of every detail understood," as stated on the group's website, the performance of Haydn's classical romanticism and Schubert's dense, academic exposition was an intriguing musical adventure. The trio's performance of 18th century composer Joseph Haydn, who Andrew Throdahl '09 has characterized as, "very similar to Mozart but prone to compose through pattern as opposed to theme, that is, non-lyrically" showcased the group's power of interpretation and execution. The "Piano Trio in E-flat minor" required the group to parse voices, to make human an abstract musical conception. The trio proved to be worthy of the challenge - as skilled interpreters, they successfully infused Haydn with an emotionally dramatic component that held the crowd's attention.

A similar dilemma presented itself in Schubert's "Piano Trio No. 1 in B-flat." An immense work, more conceptual than melodic or lyrical, its performance could not rely on success by fidelity of exposition or the composer's emotional content alone.

Upon this daunting work, the trio released their musical virtuosity, aptly meeting Schubert's challenge. Where Haydn was played with a measured restraint, the trio approached Schubert with a palpable intensity that left the listener marveling at Schubert's multifarious expositions of theme. Nick Fager '08 was especially impressed by violinist Anthony Marwood's "seemingly limitless technical competency," which is not surprising given the artists' recent honor at the Royal Philharmonic Society awards for best instrumentalist.

Dvorak's "Piano Trio in G-Minor," as an inherently dramatic piece, provided an interesting contrast to the two preceding works. Cellist Richard Lester prefaced the piece by informing the audience that many critics believe the piece to be written in commemoration of the tragic and premature death of Dvorak's daughter. The "tempestuous and sometimes chaotic" nature of the composition and the fact that it was written in the traditionally dramatic key of G-minor lend credence to this belief.

The trio played with an eloquent feverishness, seemingly lost in Dvorak's violent, quick-shifting textural interplay. Shalini Vimal '07.5 was amazed by the trio's ability to "transmit an intense visceral evocation of loss." Judging by intermission chatter, most people seemed to echo Vimal's sentiments - Dvorak was the clear crowd favorite.

Trios generally occupy an awkward middle ground between the balance of the duo and the satisfying fullness of the quartet, but Friday night was devoid of such problems. The Florestan Trio inspired an evening of close listening and well earned insights into the minds of three of the greatest composers of the Classical and Romantic periods.