Chamber Music Concert - Summit Music Festival

[Donald Isler]

Chamber Music Concert
Summit Music Festival
Thornwood, New York
August 3rd, 2022

Schubert: Rondo Brilliant in B Minor, Op. 70
Emil Chudnovsky, Violin
Pei-Hsuan Tsai, Piano

Chopin: Sonata in G Minor for Cello and Piano, Op. 65
iii: Adagio
Steven Elisha, Cello
Michael Davidman, Piano

Debussy: Sonata in D Minor for Cello and Piano
Steven Elisha, Cello
Pei-Hsuan Tsai, Piano

Chausson: Piano Quartet in A Major, Op. 30
Michael Davidman, Piano
Emil Chudnovsky, Violin
Anat Malkin-Almani, Viola
Gloria Kim, Cello

Tuesday evening's ensemble concert offered a variety of works and styles. What did not vary was that all the performers were top-notch.

The program began with the substantial (about 15 minutes-long) Rondo Brilliant for Violin and Piano of Schubert. The rondo itself is preceded by an introduction that is dramatic and seems to meander (in an interesting way!) in search of a key. The rondo proper is folksy and hearty and returns quite a few times after intervening sections. In the meantime, Schubert finds (as he often does!) many creative modulations to take us through. There is at least one "false" ending and one quasi-fugato along the way. And yet, towards the end, when one thinks "This has been going on now for quite awhile!" he comes up with yet another delightful harmonic progression we hadn't heard before. Mr. Chudnovsky and Ms. Tsai were spirited, equal partners in this music.

The Chopin Cello Sonata is such a gorgeous work I was sorry that only the slow movement was offered. But Messrs. Elisha and Davidman played it beautifully.

The Debussy Cello Sonata is a staple of the cello repertoire. The first movement sounds improvisational and has an interesting descending motive. Some of the material here sounds serious; other parts are whimsical. The second movement features an extensive use of pizzicato and interchange between the two instruments. The finale has various contrasts in it; calm and excited, later rushing ahead. It ends abruptly. Here again, the performers, Mr. Elisha and Ms. Tsai, were perfect partners.

The Chausson Piano Quartet, which I was hearing for the first time, is a big, complex four movement work. Although one couldn't tell this from the very fine performance, it's very hard to get everything right for the players because of many tempo changes, and other factors. I asked pianist Michael Davidman if the piano part was as difficult as that in the Franck Piano Quintet, which I played many years ago, and which he played at the Summit Festival last year. "This one is even harder!" he told me.

Perhaps I'm being unfair to the piece, and would think differently after a second hearing, but I just couldn't warm to it, despite the high quality of the performance. It often sounds like Franck, but not the best of Franck. It gets heated and intense, but what it "heats up to" just isn't all that interesting. And there are few melodies that seem memorable.

The first movement starts with a unison motive. The balance between the voices was admirably clear. The second movement begins with a viola solo and has solo "opportunities" for each of the players. The third movement, which I liked best, has a rustic motive. It felt freer emotionally, and less reined in. The finale begins with a fast, charging ahead motive, though there is later a quasi-recitativo section. There is also a melodious slower section before the conclusion, which was dramatic, and included the opening motive from the first movement.

Donald Isler

[Rach3]

Thanks for this. I do not think I've heard the Chausson Quartet so will do so. Fww, his Op.21 "Concert " and Piano Trio Op.3,# 2 also well worth hearing.

[Rach3]

Thanks for this. I do not think I've heard the Chausson Quartet so will do so. Fww, his Op.21 "Concert " and Piano Trio Op.3,# 2 also well worth hearing.

Here is the Chausson Piano Quartet, live video, 2018 London, Schubert Ensemble:

https://www.youtube.com/watch?v=dBL1b4Ntp68

Certainly a fine work, especially the second mov. “Tres calme.” Thanks again.