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CHAMBER MUSIC REVIEW August 21, 2002
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By Kathleen Lane Reynolds
Time stood still for those present for "An Evening with the Peabody Trio" Wednesday at the Silverado Vineyards in Napa. This concert was one of the jewels of the Music in the Vineyards summer series.
The program consisted of piano trios by Brahms and Beethoven and a breathtaking new work by Shulamit Ran. The house was full, and the enthusiastic audience looked forward to being entertained. The Peabody Trio — violinist Violaine Melançon, cellist Natasha Brofsky, and pianist Seth Knopp, together since 1989 (when they won the prestigious Naumburg Chamber Music Award) — gave a stunning performance.
To begin, Melançon gave a spoken introduction to Ran's Soliloquy, composed in 1997 for the Peabody Trio. The work was based on themes from Ran's opera, Dybbuk, the title meaning "wandering ghost." It is a story of a young couple who fall in love but encounter obstacles which prohibit them from being together — the typical "parents don't approve" saga. The young man dies of grief, and his ghost comes back to haunt his beloved.
In the ethereal, yet accessible Soliloquy, there was varying tone color from each of the three instruments. The dynamics rose to a vibrant resonance and fell to sweet whispers. Intonation was impeccable, and the interplay among piano, violin, and cello exceptional, resulting in a cohesive and constant flow of energy. This lament, with its comfortable yet striking dissonances, was contemporary music at its best. The Peabody Trio has discovered a treasure. The Beethoven E-flat Trio, Op. 70, No. 2, was an appropriate choice to follow. One of eight Beethoven piano trios, Op. 70, No. 2 is regarded as one of his "happier" works. This four-movement trio surprisingly has no "slow" movement, and propels itself ever forward, inviting the listener to enjoy its heavenly songlike quality. The effect is playful and lyrical, fresh and full of life. The playing was outstanding, the Peabody Trio moving and breathing as one, the balance perfect, dynamic contrast expansive, the transitions very smooth. Brahms' B-major Trio, Op. 8, was likewise superb. Composed in 1854 (when Brahms was a mere 21 years old) and revised 37 years later, the piece blends youthful freshness with maturity. The opening Allegro con brio begins with lush melodic lines that were beautifully interpreted by the Peabodys' cello and violin, their unisons blended with perfection. In the scherzo, my personal favorite of the evening, Knopp's performance on the Music of the Vineyard's new Hamburg Steinway was stellar. The running passages were crystal clear, light, with propulsive rhythmic percussive effect. The succeeding Adagio and Allegro, with their floating melodic lines and rich harmonies, brought this piece and the program, full circle. The capacity audience responded with a standing ovation.
(Kathleen Lane Reynolds is principal flutist with the Santa Rosa Symphony and performs regularly on several chamber music series in the Bay Area. She is also flute instructor at Sonoma State University.)
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