This is my second time hearing this ensemble. In checking my posts, I actually heard these three performers, as well. They were Diana Mittler-Battipaglia, piano; Hamilton Berry, cello; and Paul Roczek, violin.
The Program
Fantasy Pieces opus 73 for Cello and Piano (1849), Robert Schumann (1810–1856)
Zart und mit Ausdruck (delicately with expression), Lebhaft, leicht (lively and lightly), Rasch und mit Feuer (fast with fire)
Zart und mit Ausdruck (delicately with expression), Lebhaft, leicht (lively and lightly), Rasch und mit Feuer (fast with fire)
Sonata in A Major for Violin and Piano (1886), César Franck (1822–1890)
Allegretto ben moderato, Allegro, Recitativo-Fantasia, Allegretto poco mosso
Allegretto ben moderato, Allegro, Recitativo-Fantasia, Allegretto poco mosso
Trio on G major opus 3 (1911), Franz Mittler (1893–1970)
Allegro molto appassionato, Scherzo-Allegro, Andante, Allegro vivace
Allegro molto appassionato, Scherzo-Allegro, Andante, Allegro vivace
The entire afternoon was enjoyable but I must say that I really enjoyed the Schumann.
Mr. Berry (and Ms. Mittler-Battipaglia) played superbly. The movements were rich in tone and scope, with very nice interplay. There was a playful section in the second movement, with the third movement quite rapid, still beautiful, and still spirited, even when the tempo slowed slightly. This was A+ in my book—the piece itself and especially Mr. Berry’s playing.
Mr. Berry (and Ms. Mittler-Battipaglia) played superbly. The movements were rich in tone and scope, with very nice interplay. There was a playful section in the second movement, with the third movement quite rapid, still beautiful, and still spirited, even when the tempo slowed slightly. This was A+ in my book—the piece itself and especially Mr. Berry’s playing.
I was not quite as taken with the Franck. Compositionally, there was more separation in the writing, with violin and piano and then separate phrases for piano only. Some of the chordal sections in the piano accompaniment reminded me of what my best friend in the entire world used to describe as “creepy-crawly French chords,” reminiscent of Franck’s history as a composer-organist. The third movement (and especially the fourth) brought recognizable tunes—indeed, the fourth movement is almost a “warhorse” candidate.
The Mittler trio was quite nice. Given the opus number and date of composition, we see that this was the early work of an 18-year-old. While not particularly sophisticated, it was fine, compositionally. I liked the second movement, with its lively opening, contrasting section and then a return to the opening themes. This movement (and the third) could be presented as stand-alone movements, in my opinion. That goes without saying for the final movement of the Franck, as well.
I’d want to hear the Schumann in its entirety any time I heard it. Did I mention that I liked the Schumann?
ConcertMeister
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