For those who have been following in my "chamber music on a budget" footsteps, today's Noontime Concerts™
recital at Old St. Mary's Cathedral by pianist Miles Graber, violinist
Mariya Borozina, and cellist Miriam Perkoff provided an excellent
opportunity for comparative listening. Their performance of Johannes
Brahms' second piano trio, Opus 87, in C major provided an excellent
complement to last month's performance of the first trio,
Opus 8, in B major by the MusicAEterna trio (for which Graber serves as
pianist) at the Old First Church. However, the comparison may well
lead many listeners in unanticipated directions; because, in spite of
its usually "upbeat" key, the later trio is as cold and dark as the
earlier one is warm and comforting.
This may perplex those
with more conventional expectations. How can Brahms find so much
darkness in C major and so much warmth in B major? I suppose the answer
is that, while Johann Sebastian Bach
may have exploited different "character traits" from different keys,
based on the underlying logics of their different intervallic relations,
Brahms' use of equally-divided intervals allowed him to make key
choices primarily on the basis of what he wanted the hands to do,
leaving matters of those character traits to rhetorical strategy. In
the case of that second trio, that rhetorical strategy involves
different approaches to concealment. For example, the piano never gets
to state the very opening theme of the first movement until the end of
that movement. In the Scherzo movement, while the trio section settles
comfortably into primary cadences, it is embraced by outer sections of
flittering gestures that dart by before the ear can really grasp them;
and that same relation between the evanescent and the startlingly clear
also pervades the final movement. Brahms may not quite be Dominic
Flandry, Poul Anderson's Knight of Ghosts and Shadows; but the rhetoric of this second piano trio is definitely ghostly and shadowy!
Graber,
Borozina, and Perkoff certainly had no trouble honoring this rhetorical
strategy. Their technical command of the score was all that it should
have been, allowing those primary cadences to jump out of the shadows
right in the spirit (pun intended) of the composition. Ironically, this
was one of those wonderful sunny days in San Francisco, contrasting as
much with the Brahms trio as that cold Sunday afternoon
had contrasted with the performance of Opus 8. Given the contentious
sort that Brahms was, his own ghost was probably pleased with both of
these contrasts!
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