“It would be hard to imagine two more compatible musical partners than Mr. Zerweck and Mr. Valkov – compatible with each other and with Beethoven. Both revealed themselves to be fearless, ferocious musicians – at times, even frightening. They could be sweet and gentle when the composer insisted, but with a loosening of the reins they could rip your throat out. In a good way, of course.”
Read the rest of Mike Greenberg’s review of our Beethoven250 program here: http://incidentlight.com/Music%20reviews/camerata-zerweck-valkov-olmos-ensemble-soli-200221.html
Camerata San Antonio is one violin short of a string quartet this fall for a worthy reason: Violinist Matthew Zerweck is taking paternity leave. In compensation, the remaining members have been able to explore some of the literature for string trio, with side trips to two and four in the company of frequent collaborator, pianist Viktor Valkov. For the Nov. 15 concert, Camerata visited an unaccustomed venue, the intimate recital hall in the Palo Alto College performing arts center. The space proved acoustically dry but left nothing unheard – including the occasional loud expulsion of breath by which cellist Ken Freudigman telegraphed some especially important turn in the music. The towering finale, Johannes Brahms’ Piano Quartet in A, had an especially generous number of those. The first half took less-traveled roads to Clara Schumann’s Three Romances for violin and piano and Ernst von Dohnanyi’s Serenade for string trio. The eminent violinist Joseph Joachim was the thread connecting all three composers: He collaborated closely with both Clara Schumann and Brahms, and he invited Dohnanyi to teach at the Berlin Hochschule für Musik, of which the violinist was director.
Clara Schumann was one of Europe’s most celebrated pianists in the middle decades of the 19th century. She composed a good deal of music – much of it for her own solo and chamber music performances – in her 20s. After a five-year hiatus, she had a burst of activity in 1853, the year she met Brahms and the year of the Three Romances. Her husband, Robert Schumann, was committed to a mental institution the following year, and Clara became the sole support of seven children, including a newborn boy. Those circumstances dictated that she concentrate on her lucrative concert career and set composition aside.
That’s our loss. On the evidence of the Three Romances, Clara Schumann was a composer of considerable merit. The whole set flies by in only 10 minutes or so, but a lot of music is packed into that slender frame. The violin is given generally long-lined, declarative melodies that sustain interest by avoiding the obvious. The piano part, considerably busier, invites billowing dynamics and sculpted phrasing. The two parts are distinct, even opposite personalities in earnest conversation – for which the cool reserve of violinist Anastasia Parker and the heated passion of Mr. Valkov were well suited.
Dohnanyi’s Serenade is so immediately engaging that it’s easy not to notice how expertly it is crafted. Dohnanyi composed this five-movement work in 1902, when he was in his mid-20s, and in some ways it looks back to the Romanticism of Brahms. But the energetic, intricately wrought counterpoint – especially in the fugal Scherzo and bustling Rondo – and the fresh harmonies contain at least a hint of the new century. Mr. Freudigman put plenty of snap into the occasional Hungarian folk tropes, violist Emily Freudigman spun lovely melody to open the Romanza, and Ms. Parker was especially effective in the disconsolate Theme and Variations, the emotional center of the Serenade.
Brahms was a young man of 28 or 29 in 1861 when he completed his second piano quartet, a chamber work that is symphonic in both duration (about 50 minutes) and ambition. The allegro movements that open and close the work seem steeped in testosterone, the Scherzo has a restive undercurrent, and even the sweet Poco adagio is agitated by rocking eighth-note figures that seem prepared at any moment to spring into action. The performance was big, bold, and muscular – words that often come to mind when Mr. Valkov is involved in chamber music. Those traits were amplified by the physical circumstances: The seven-foot Steinway B Mr. Valkov was playing might not have been enough piano for a big concert hall, but it was possibly too much piano for Palo Alto’s little recital hall. At times the piano overwhelmed the strings in volume, but the pianist’s in-the-bones Romanticism was the driving force in a compelling performance.
Coda: Technical difficulties kept me from posting a timely review of Camerata’s October concert, with three works for string trios performed by Ms. Parker, Ms. Freudigman, and Mr. Freudigman in the University of the Incarnate Word concert hall. They opened with Krzysztof Penderecki’s String Trio of 1990-91, music that is less self-consciously avant-garde than the clouds of dissonance that characterized much of his music from the late 1950s and 1960s, but no less startling. The first of its two movements was the more remarkable, with extended solo cadenzas of widely different character for each of the instruments – all played with conviction. Jean Francaix’s String Trio in C of 1933 was at the opposite pole – three brief witty, jaunty, cheeky movements and one wistful, lyrical Andante. A warm, affectionate account of Mozart’s grand Divertimento in E-flat, one of his longest works, closed the concert.
Read Mike Greenberg’s review at incidentlight.com
The first half of Camerata’s program, in the University of the Incarnate Word concert hall, featured string quartets by two composers from off the beaten path. The first-rate musicians were violinist Matthew Zerweck and Anastasia Parker, violist Emily Freudigman, and cellist Ken Freudigman.
Mieczyslaw Weinberg, a Polish Jew who fled to the Soviet Union in 1939 and became a friend of Shostakovich, has been gaining notice in recent years. He is probably best known for his powerful Holocaust opera The Passenger, whose planned 1968 premiere was scuttled by Soviet authorities; performed for the first time in 2006 in a Moscow semi-staging, it has since received several important productions, including its US premiere at Houston Grand Opera. His brief Capriccio, Op. 11, for string quartet, was composed in 1943. This charming, lyrical music bears some superficial resemblance to Shostakovich, but deep down it is neoclassical, almost Haydnesque, but with modern harmonies that recall Richard Strauss.
Anton Arensky was a tragic figure, showing brilliant talent when he was young, but soon trapped by addictions to alcohol and gambling. He died in 1906 at age 45. His String Quartet No. 1 of 1888 reveals a master of harmony, a fertile musical imagination. and – like the Weinberg piece, a debt to Haydn. Of its four movements, the second, marked Andante sostenuto, is especially interesting for a sweetly lyrical but grounded sentimentality, rather like a film by Ozu. Metaphorical sparks flew from Mr. Zerweck’s violin in the fourth movement, Variations on a Russian Theme.
Pianist Viktor Valkov joined Mr. Zerweck and Mr. Freudigman in the concert’s final work, Tchaikovsky’s Piano Trio in A Minor. The performance was big and fearless in every way. Individually and as an ensemble, these guys left nothing on the table.
Read the entire review by Mike Greenberg at incidentlight.com
“On the whole this was a polished, well-balanced, and committed performance. And it was lively, the ensemble’s flexible tempos and dynamics keeping the line in constant motion.” Read more at incidentlight.com
“…the performances were bold and intense, characterized by forceful accents and big dynamic contrasts. The faster and more impetuous movements were a little unkempt, as they should be in Beethoven: In the third movement of the “Serioso,” with its furious attacks and slashing accents, the players retained some individuality of expression, suggesting four friends engaged in earnest conversation. When a more unified sound was called for, as in the molto cantabile second movement of Op. 127, Camerata complied with a rich blend and gorgeous chordings.” Read more at incidentlight.com
“Mr. Valkov’s limitless technique encompasses everything from crisply defined delicacy to bold – even pugilistic – muscularity…” Read the entire review at incidentlight.com