Within every passage of time, there is a certain space reserved for reflection as well as restitution. This is especially true in small communities — here on the Hill, we find more than our share of small groupings with large and ever-expanding possibilities and pursuits. Some of the truth of this matter was on display this past Saturday evening, when our very own Pacific Trio used the full ambient expanse of Lowman Concert Hall in conjunction with the Idyllwild Arts Academy Chamber Orchestra to present a program that respected both artistic potential and intentions and gave the listeners both the needed meditative and restorative opportunities.
The Chamber Orchestra’s rendering of the opening “Allegro moderato” movement of Johannes Brahms’ “Serenade #2 in A Major, Opus 16” served as an example of how such scaled-down resources can in its own way acquire a boldness of spirit. Conductor / Artistic Director Daniel Bassin’s handling of the piece with his 20 performers projected a sense of substantial clarity; far from serving as an overture of sorts, the individual players (in particular the winds) proceeded intent on a presentation of the composer’s maturing style in such a way as to have that facet well understood. A reflective mood was thus expertly captured by all concerned.
As a precursor to the evening program’s main attraction, and as a somewhat unexpected sonic treat, the members of the Pacific Trio — Edith Orloff, pianist; Roger Wilkie, violinist and John Walz, cellist — put forth their talents in a short-and-sweet “Piano Trio in C Major” by the Spanish cellist and composer Gaspar Cassado. This 3-movement work brought out resonant piano and string playing in what could be characterized as a delightful potpourri of Spanish dances and rhythms, based on themes from the varied regions of Spain and not solely dependent on flamenco-based flourishes. The audience reaction to this little-known piece was gratifying, and the 3 players took deservedly respectful bows.
Following an intermission which featured a slight change of orchestral arrangement (shifting string sections) and the installation of a platform for the solo cellist, the forces were in place for Ludwig van Beethoven’s “Triple Concerto in C Major, Opus 56”. Even considering the smaller ensemble, which could have given impetus to the general perception of this work as being overshadowed by the composer’s then-current projects (particularly the “Eroica” Symphony and the opera “Fidelio”), the opening movement was stated with all the capacity of a fuller orchestral complement. The subsequent entry of each of the solo instruments was positively instructive, in that Beethoven actually did write a concerto for 3 individuals, and not a Baroque-style “Concerto Grosso” or a Classical “Sinfonia Concertante”. With John Walz’s cello taking the lead, from the opening “Allegro” directly through to the final “Rondo alla polacca”, sound production of a quality rarely heard in this work’s performance was evinced, emphasizing the blending of the disparate elements of the piano, violin and cello sonorities as the composer most decidedly wished. With that accomplishment, the concert itself succeeded as a live presentation of the first order. And with the audience’s approbations, this listener looks forward to Dr. Bassin’s next presentation, forthcoming in mid-April for the annual Concerto Competition. One wishes all of Saturday’s participants and attendees both good health and happy listening experiences in the meantime.
