|
CHAMBER MUSIC REVIEW
Valiant Energy, Running Amok
March 4, 2001
|
By Stuart Canin
Energy is a crucial component in the life of a musical performance. But its too liberal application can rob that performance of any vital signs. This might sum up what transpired at the concert of the Grieg Piano Trio Sunday afternoon on the Morrison Series at San Francisco State University.
This extraordinarily gifted and dynamic trio — pianist Vebjorn Anvik, violinist Solve Sigerland, and cellist Ellen Margrete Flesjo — brought their superior technical resources to the program, which peaked with the Libby Larsen Piano Trio No. 3 (commissioned by the Griegs), opened with the Haydn C Major Trio, Hob. XV 27, and closed with the heavenly Schubert E-flat Major Trio, op. 100.
Libby Larsen, a Minnesota resident of Norwegian descent, was chosen for the commission because much of the Trio's touring has been connected to the Norwegian cultural heritage and ambassadorship. Larsen's trio, premiered recently at the University of Massachusetts at Amherst, is in three movements, entitled "Driving," "Slowing," and " Mechanized Funk." According to notes provided by Larsen, this work "aims to study the ensemble of the piano trio, less for its contrapuntal potential, and more for its ability to interact rhythmically. Each of the three movements explores the notion of controlled repetition, combined with imaginary popular dance."
Larsen took on the idea of writing a piano trio and copying 19th-century compositional approaches. She succeeded only too well, but breaking new ground did not seem part of her plan. Her trio is something of a pastiche — some driven Prokofiev, some Debussy, and some Ravel, certainly harkening back to the "Blues" movement of his Sonata for Violin And Piano. The Trio's technique and rhythmic bite were certainly put to the test, but they met every challenge.
However — and this is a large "however" — the Viennese portion of the program (the Haydn and the Schubert trios) was wanting in too many of the qualities that make this music unique. The Grieg Trio is a thoroughly modern musical group but with a tendency to "play big," which led to stridency in the sound. The pianist, at a big Steinway grand, played with the lid fully opened. This, I am sure, contributed to the barrage of sound as the violinist and cellist exerted every effort to be heard, the violinist being somewhat successful, the cellist less so. As for style, much that was wrong was wrong in both the Haydn and Schubert. The "Gemütlichkeit" necessary for such beautiful music was never present. The music was driven, and the soft Viennese bow strokes gave way to hard-bitten attacks throughout the two trios. The pianist, too, had a percussive sound that made it impossible to bring out the character in the songlike Andante of the Schubert. The Grieg Trio, a remarkable group of young musicians in many ways, needs to rethink its approach to 18th and 19th century music. A more relaxed spirit would bring a higher degree of satisfaction to the audience. (Stuart Canin is former Concertmaster of the San Francisco Symphony and of Hollywood film orchestras, and the former Music Director of the New Century Chamber Orchestra.) ©2001 Stuart Canin, all rights reserved |