Word: trio
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Dates: during 1990-1999
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...concert at Sanders Theatre was more an "event" than a chamber music concert. This atmosphere was only reinforced by the nature of the programming. The violinist Stephanie Chase was slated to play in each work, first Bartok's First Sonata for Violin and Piano, then the Brahms Horn Trio, and finally the Beethoven Septet. While programming for a single performer might be acceptable even in a chamber music concert, the flagrant insertion of Bartok's Sonata into a menu of otherwise standard (and somewhat related) fare, seemed justified only by the appeal of alliteration. Before she played, it would have...
After the physical and tonal woodenness of theBartok Sonata, the vibrancy of the horn soloheralding the beginning of the Brahms Horn Trio,like a good antacid, would have spelled relief.Brahms composed this work for the "natural horn"prevalent in an age just before his own. The"natural horn" appealed to him since one must muteit with one's hand in order to play certain notes,and he desired that the entire trio maintain acorrespondingly muted timber. However, even whenmuted, the passion of Brahms' compositions cannever be suppressed. The trio which performed inSanders, Robert Rauch on horn and Mihae Lee onpiano...
Sirlin's wizardry, however, has been lavished on a curiously old-fashioned trio of composers. The best of the new works is Weisgall's Esther, by a composer who turns 81 this week and whose fondness for outmoded, Schoenberg- style serialism remains unabated. The story of Esther's dramatic rescue of the Jews from the evil Persian vizier Haman, celebrated each year in the feast of Purim, is one of the Bible's most gripping tales, and Weisgall, working to a libretto by Charles Kondek, has told it well. Tunes, no; drama, yes. The stark and uncompromising Esther...
...Karl Hendricks Trio Romantic Stories About...
SMALL FACTORY I Do Not Love You CD/LP (spinArt) Small Factory are on America's longest-running sugar high. The Providence, R.I., trio used to bounce onstage with what looked like a miked acoustic guitar and an acoustic bass guitar, perfectly suited to the clean sound, rapid strum and deliberately amateurish vocal harmonies that dominate their speedy indie-pop. Alex now plays an ordinary electric bass, but the unpretentious spirit has stayed the same: "Come Back Down," or anything else from the second half of this album, will have anyone remotely tune-sensitive bobbing her head up and down...