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Concert review: Amadeus Trio
Apr. 26th, 2004 01:52 pmAt Le Petit Trianon, the nifty little concert hall in downtown San Jose.
Despite their name, this piano trio [I've discovered I need to explain that this means trio of piano, violin, and cello, not three pianos] didn't play any Mozart. Instead we got a lively, full-bodied rendition of Beethoven's "Ghost" Trio, Op. 70 No. 1, and an appropriately somewhat more sedate version of Brahms's Second Trio, Op. 87 (highlight: the slow, dreamy return of the main theme in the second movement). These were separated by Stravinsky's arrangement of his L'Histoire du Soldat for clarinet, violin, and piano, which consisted, however, of more narration than anything else. The narrator, a retired English prof from San Jose State, read well, but I came to hear a concert, not an intoned rambling fairy tale.
The musicians performed excellently, but the violinist's tone was shrill and dry and did not blend, while the cello and piano blended so well they seemed like one instrument at times.
Despite their name, this piano trio [I've discovered I need to explain that this means trio of piano, violin, and cello, not three pianos] didn't play any Mozart. Instead we got a lively, full-bodied rendition of Beethoven's "Ghost" Trio, Op. 70 No. 1, and an appropriately somewhat more sedate version of Brahms's Second Trio, Op. 87 (highlight: the slow, dreamy return of the main theme in the second movement). These were separated by Stravinsky's arrangement of his L'Histoire du Soldat for clarinet, violin, and piano, which consisted, however, of more narration than anything else. The narrator, a retired English prof from San Jose State, read well, but I came to hear a concert, not an intoned rambling fairy tale.
The musicians performed excellently, but the violinist's tone was shrill and dry and did not blend, while the cello and piano blended so well they seemed like one instrument at times.
