Last Sunday's concert at Old First Church was a tribute to Reverend John Bodo, former pastor and founder of what became the Old First Concerts series. Since Bodo is a cellist himself and gave the first concert there in 1970, it was only fitting that a cellist be the centerpiece of Sunday's concert-- the San Francisco-born Eric Gaenslen. He was joined by Old First Church organist Kenneth Matthews, violinist Robin Sharp (a member of the San Francisco Symphony), and pianist Benjamin Loeb in a mostly-enjoyable program featured works by Bach, Pergolesi, Franck, and Schubert.

The concert opened with the first of two short works arranged for organ and cello, an arrangement of the middle adagio movement from Bach's Toccata, Adagio, and Fugue for organ. The piece has been popular with cellists since the days of Pablo Casals, and Gaenslen's warm sound and sensitive playing set a reverential tone for the program. Matthews' discreet organ accompaniment balanced the singing line of the cello most thoughtfully. Unfortunately, the transcription of the Pergolesi Sinfonia in F Major that followed retained too much of the same placid character, and the music emerged as turgid and sluggish.

Cesar Franck wrote his magnificent Violin Sonata in A major in 1886, and it has often been appropriated by other instruments, most commonly and effectively by the cello. When the work is done with cello however, it presents the piano with a particular problem in balance. Pianist Benjamin Loeb solved this with ease, providing plenty of support without ever covering the cellist. Still and all, the Franck was only intermittently successful. Gaenslen's lovely tone and smooth bow arm was often mitigated by a lack of musical intensity, the overall effect being too passive in character. The opening movement lacked the romantic yearning that is at the core of this work, while the second movement, largely due to the efforts of Loeb, did catch fire.

The Franck's third movement was more successful, as both musicians effectively captured the broad sweep of the musical gesture. Gaenslen's intonation in the highest register of the instrument was problematic during the final movement, and the overall approach was a bit too square to capture the passionate nature of the music fully.

After intermission and a short speech by Bodo, Gaenslen and Loeb were joined by violinist Robin Sharp for what proved to be a thoroughly charming and delightful rendition of Schubert's Trio #1 in B-Flat Major, D. 898. The trio succeeded admirably in bringing the music to life in a performance notable for its poise and polish, with fine details of color and phrasing. Throughout one was aware of Loeb's sensitive contributions; his subtle colorations of the line and flexible rhythmic timings allowed Schubert's melodies to breathe in a truly vocal manner.

In the Schubert's first movement, Sharp's incisive rhythm was also an positive asset. The second movement featured moments of especially beautiful and sensitive interplay between violin and the cello, and the rhythmic verve of the third movement was nothing short of infectious. It was a delight to hear the quicksilver changes of mood so neatly executed without ever losing Schubert's essential lyricism. If the final movement sagged rhythmically for a few moments in the middle this was a small quibble, for the performance ended in splendid form and in high spirits. Throughout the Schubert, the trio exhibited the kind of sensitive give and take that is the mark of chamber music at the highest level. Reverend Bodo could take pride in the artistry of Sunday's performers, and the Bay Area can be pleased that his initial vision has been continued for 29 years in the form of Old First Concerts.

(Pianist William Wellborn performs and lectures in the United States and Europe, and from 1995-97 was host of the program "Piano Legacy" on San Francisco station KDFC. Wellborn is on the faculty of the San Francisco Conservatory, where he teaches courses in piano, piano history, and opera.)

©1999 William Wellborn, all rights reserved