\u2026It’s hard to believe anyone felt less than sigh-and-snuggle-before-rolling-over-and-lighting-up-a-smoke satisfied after the Trio Epomeo’s June 6 performance for the Newburyport Chamber Music Festival. Except, perhaps, for the Schnittke fans, who, once they got a taste of the Moderato section of the Russian composer\u2019s String started growling for the Adagio \u2014 a kind of musical blood lust…<\/span>… The Newburyport performance, the penultimate stop of Trio Epomeo\u2019s three-country, two-continent tour, had been conceived as musical tapas, of sorts, giving the audience a taster\u2019s menu, a variety of works to sample, a selection of moods and colors, rather than complete works. But, even within this context, the emphasis was on the modern, and the mood tilted toward darker hues: Hans Krasa\u2019s chilling \u201cTanz,\u201d which opens with a waltz and ends with oblivion; Alan Hovhaness\u2019 ethereal, otherworldly Trio, the musical manifestation of a deep, mournful sadness that seems to exist on a cellular level; Gideon Klein\u2019s \u201cBased on a Moravian Theme,\u201d a concise and unforgettable emotional musical rollercoaster; and, finally, closing the first half of the performance with Schnittke\u2019s alternately lulling and jolting crash-bang String Trio.<\/span>Within this context, the Beethoven seems a little out of place historically, musically and even geographically, given that the work presented had an eastern Europe perspective \u2014 even the encore, a Kodaly Intermezzo. At the same time, it was comforting, steadying, closing with Beethoven, a lovely piece \u2014 lyrical, expressive, an incredible vehicle for exploring possibilities of the instruments. And, again, when you encounter such inspired playing \u2014wonderfully executed and, at times, absolutely breathtaking performances by players at the top of their game, up close and personal\u2014 all this talk about the what\u2019s what of the program becomes mere sport. So, again, within this context, the decision to go Ludwig becomes a fielder\u2019s choice.<\/p>\nIt was a magical evening \u2014 seriously under-attended, but magical. The trio, which came together last year at the Festivale d\u2019alla Musica da Camera d\u2019Ischia in Italy to explore the possibilities of just one piece (the Schnittke Trio, natch) and discovered that they clicked musically, sounded like they had been playing together forever. The performance space (the Carriage House, a marvelous listening room fashioned out of an 19th-century out-building on the Lord Timothy Dexter Estate by NCMF patrons Julia Farwell Clay and Walter Clay) is a delight, as was the after-party \u2014 the social aspect, the schmooze, has been an important part of festival since its inception. There was plenty of food and wine and a chance to chat up musicians. We heard stories about Wallis\u2019 recent tour of North Korea<\/span>, of all places. Or the time when he and Wood, who worked together during a musical interlude in <\/span>Arkansas<\/span>, wandered into a rock and roll club. Wallis kind of hung back, but Woods, who performed in a rock band back in his <\/span>Indiana<\/span> <\/span>University<\/span> days, jammed with the band, playing guitar behind his head, a la Jimi Hendrix. But the best news we got, before the last of the wine had been poured, was that trio plans to record the Schnittke. Stay tuned. <\/span><\/p>\n<\/span><\/p><\/blockquote>\nRead the whole thing here<\/a>.<\/span><\/p>\nFYI- The review mentions low-attendance. NPCMF tells me that they sold all the tickets available for the event, and all the chairs were full, but I don think we could have made room fo 50% more without making the room feel uncomfortable.<\/span><\/p>\n
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