Tonight András Schiff performs the first of his final two recitals
in his cycle of the complete piano sonatas of Ludwig van Beethoven in
which he will play the "monumental" Opus 106 in B-flat major
("Hammerklavier"); but this afternoon at Herbst Theatre the piano trio
of Jaime Laredo (violin), Sharon Robinson (cello), and Joseph
Kalichstein (piano) prepared the ears with a stimulating reading of the
Opus 97 ("Archduke") trio in B-flat major, which probably counts as the
"monument" of the piano trio canon. Completed in 1811, this trio
precedes the opening sonata of tonight's program (Opus 90 in E minor) by
about three years and is one of Beethoven's great adventures in
exploring conventional structures prior to departing from them in his
final piano sonatas. For my ears the high point of this trio is its
theme-and-variations third movement, where Beethoven departs from
choosing a simple theme in favor of what I have previously called "a more elaborate structure unto itself, which could then be mined for variations from many diverse perspectives."
The trio thus honors the usual conventions while preparing us for the
ground that Beethoven would concentrate on breaking in only a few years.
While
the work itself may be monumental, Laredo, Robinson, and Kalichstein
avoided placing it on any pedestal. Their approach was affable and
accessible. Beethoven was not trying to provoke but to please in this
trio. The "revolutionary" insights come only with later reflection;
and the musicians knew how to draw us into the most receptive spirit
that the music deserved.
They took the same approach with the
equally "monumental" second trio in E minor (Opus 67) by Dmitri
Shostakovich, even though this work is far more provocative, beginning
with the cello introducing the first subject above the normal playing
range of the violin and progressing to a final movement based on Jewish
folk material, which would have been an extremely daring move to make in
1944 Russia. This trio is remarkable for the way in which Shostakovich
compresses his usual orchestral thinking into the capacities for a wide
range of sonorities in these three instruments. One can only listen in
awe as he turns one trick after another, even setting aside one in the
second movement that invokes Beethoven's thematic material from the
sonata canon. The only way this trio can be approached is with firm
confidence and conviction; and that is exactly what the performers
delivered, giving what may be one of the most memorable works of the
twentieth century the best imaginable platform for presentation.
This
storm was preceded by a rather unique calm to open the program. This
was the WoO 39 allegretto movement in B-flat major (the same key as the
"Archduke"). This movement was written in 1812 for the nine-year-old
Maximiliane Brentano as a model to instruct her in proper composition.
In 1820 this same Miss Brentano would be the dedicatee of his Opus 109 E
major sonata (which will open the second of the coming Schiff
recitals). It is clear that Beethoven had much affection for her, and
the performers brought out that affection in the subtleties of what
could be mistaken for a rather simple exercise. The result was an
overall experience in the compositional scope of two major composers
that made for a truly memorable San Francisco afternoon!
No comments:
Post a Comment