Antique Treasures, New Discoveries (6/24/17)

Lucian Rinando, flute; Sam Magill, cello; Babette Hierholzer, piano

Trio in G, for Flute, Cello & Piano, Hob. 15 – Allegro; Andante; Finale – Franz Joseph Haydn (1732–1809)
Trio in e minor, for Flute, Cello & Piano, Op. 45 – Allegro deciso; Andante; Scherzo; Finale–Presto – Louise Farrenc (1804–1875)
Particle 1, for Solo Cello (2016) (New York Premiere) – Prelude; Sarabande; Gigue; Elegy – Robert Chumbley (b. 1954)
Trio for Flute, Cello & Piano (1948) – Moderato; Adagio; Allegro spiritoso – Norman Dello Joio (1913–2008)

The first movement of the Haydn was gentle and pleasing, bright and cheerful, and somewhat lengthy, with several repeats taken. The second was simple and rather spare. Even when it became slightly more complicated, it retained that spare feeling. The third movement was fuller and jaunty, with a continued elegance.

As announced from the stage, Louise Farrenc was that rare example of a female composer who was published and performed in her lifetime. And she insisted on equal pay with the males being published at the time. The first movement was bold, then a bit introspective, and then quite bubbly. It presented some nice ideas but rambled a little. The second movement was slow and sad—really only a touch, though. After a dramatic section, it returned to its gentle beginnings. The scherzo was brisk and energetic and, after a contrasting calm section, finished with a flourish. The last movement was very full, quick but with a hefty feel to it, always moving forward, and playful though not frivolous.

We heard an interesting back story to Particle 1. The composer, who was there and spoke, was a classmate of the afternoon’s cellist. This piece was originally written for a different cellist who was also a classmate. That man premiered the piece and was slated to play its NY premiere, but suddenly died about a year and a half ago. And that is why Mr. Magill played it here. The work, meant to reflect on and complement the Bach solo cello sonatas, was three movements as originally written. The fourth, Elegy, was added as a tribute to the cellist the piece was composed for. I liked all of the movements which included techniques such as plucking and bowing the strings at the same time. The modern harmonies and techniques were interesting without going overboard. The third movement ended with a strong plucked open string. You could tell that it was the true finish. The Elegy that followed was calm and a bit plaintive, truly written and played as a tribute.

We learned from the stage that the Dello Joio was written in 1948 and that he won a Pulitzer Prize in 1957. This trio began with the flute and plucked strings on the cello, joined by the piano. The modern lines and harmonies were easy to listen to and had nice driving rhythms. The second movement began with the flute and piano, joined by the cello. It was calm, quiet and lyrical, then a bit brighter—even spiky at times—returning to calm at the end. The final movement had a quick, energetic, sort of perpetual motion opening, followed by a relaxing section that then returned to its high energy, bordering on frantic, and then a rush to the end. All in all, an enjoyable afternoon.

ConcertMeister