| Music Review |
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| REVIEW |
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FAMILY TRIO STRIKES ELOQUENT BALANCE
| Sunday, January 6, 2002 FEATURES - ACCENT & ARTS 04F By Jon Christensen |
The Weilerstein Trio, the first presentation of the new year by the Columbus Chamber Music Society, is well-named. Each of the chairs in the ensemble is held by a Weilerstein: Donald Weilerstein, renowned as the founding first violinist of the Cleveland Quartet; Vivian Hornik Weilerstein on piano; and their daughter, cellist Alisa Weilerstein.
Their Southern Theatre concert began with Schubert's great Trio in B Flat, Opus 99. The briskly played first movement was more allegro than moderato, except for the moderating effect of Alisa Weilerstein waxing poetically on her cello. The emphasis on the dramatic rather than the lyrical propelled the movement to an energetic close.
Thanks to the cellist, the achingly beautiful main theme of the second movement received its just due at the outset. The pacing throughout seemed well-suited to the expressive opportunities of this famous movement, but the imbalance between the piano on the one hand and the more prominent strings on the other was a handicap.
The rapidly witty scherzo provided the requisite contrast to its emotional predecessor. Finishing with a flourish, the Weilerstein next took up the agitated emotions of the Rondo finale, again giving the spotlight to the violin and cello.
There was greater equality in the vigorous rendition of Fall, from the Four Seasons by Argentine composer Astor Piazzolla. With equal confidence, the Weilersteins followed with Spring, attractively loaded with Latin rhythms that showed the performers in full command of the idiom.
The closing work was Dvorak's Trio in F Minor, Opus 65, a great work unjustly overshadowed by the better-known 'Dumky' Trio. As in the Schubert, the piano often seemed relegated -- whether by placement on stage or by intent -- to being a less-than-equal partner, even in climactic moments of the expansive first movement.
The strings' syncopated rhythms in the second-movement allegro did, however, initially allow the piano part to shine.
The ensuing adagio was played with the right touch of sentimentality, eloquently and tastefully conveyed. Even the pianissimo of the last chord was close to perfection. The abrupt changes of pace in the closing allegro were deftly handled.
The encore -- the second movement of Dvorak's 'Dumky' Trio -- was the highlight of the evening. Pianist Vivian Hornik Weilerstein's treatment of the simply figured opening theme was masterful, and the group's balance was, for this music, close to ideal.
jchristensen@dispatch.com