CHAMBER MUSIC’S INTIMATE AND ABSORBING FEELING

A solo recital, and a voice-piano trio and duet at the Experimental theatre: three rendezvous with the finest chamber music - with Piotr Anderszewski (January 26), the Beaux-Arts Trio (February 7), Stephen Genz and Michel Dalberto (February 23)

The three concerts preceding the second rendezvous of the season at Le Muse, to be presented by our Amici della Musica (violinist Shlomo Minz and pianist Itamar Golan), comprise, in my opinion, Chamber Music’s most intimate emotions. They highlight a few of its many fine examples, and in three of its possible combinations: the solo recital, as well as the voice-piano trio and duet. 

The first in this series of concerts features the young Polish pianist Piotr Anderszewski, the most recent recipient of the Gilmore Prize. The program the young maestro will play is not unusual, but will nonetheless remain “original”. It is not common to have an entire concert dedicated to the music of Bach because an audience normally prefers an arrangement that is more enjoyable, or seemingly so.  In the field of classical music, chamber music is considered the most “difficult”.  This concert may be proof that this is not necessarily so by leading us into the polyphonic vaults of the preludes and fugues of “Well-tempered Clavier”.  Anderszewski will perform Parts 13 to 18 out of the second book, the “lighter” style of the luminous Partita n. 1, and the absorbing and severe English Suite n. 6 in D minor. 

Not to be missed is the outstanding Beux Arts Trio, formed by pianist Menahem Pressler, violinist Daniel Hope, and cellist Antonio Meneses. This chamber ensemble is among the most renowned in the world and can draw the audience into the music like very few know how. The Trio’s program will be a wonderful performance of two youthful works, Haydn’s Trio Hob. XV: 18, and Brahms Trio op. 8, in addition to Shostacovich’s Trio op. 67. 

This triptych concludes with the concert by baritone Stephan Genz and pianist Michel Dalberto: when it comes to the human voice Lieder music is one of the finest examples of German cultural heritage, while for us the voice is identified more commonly with lyric opera. The works Genz and Dalberto interpret constitute some of the finest examples in this repertoire. They couple the beauty and richness of the music’s structure with the melody’s great refinement and the poetic text on which both are built.  Robert Schumann’s Dichterliebe op. 48 based on a text by Heinrich Heine will be on the program, as well as Hugo Wolf’s Lieder nach Texten von Eduard Morike.

                                                                                                                           Annalisa Pavoni