{"id":619,"date":"2006-09-01T17:22:21","date_gmt":"2006-09-02T00:22:21","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=619"},"modified":"2006-09-01T17:22:21","modified_gmt":"2006-09-02T00:22:21","slug":"classical_interlude","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2006\/09\/classical_interlude\/","title":{"rendered":"Classical Interlude"},"content":{"rendered":"

Last night I dropped into The Seasons<\/a> to catch the last half of a concert by the Finisterra Trio<\/a>, the hall’s artists in residence. They are violinist Kwan Bin Park, cellist Keven Krentz and pianist Tanya Stambuck. In previous posts, I have mentioned this Seattle piano trio’s finesse and enthusiasm. One of their other strong points is an eagerness to range through music in search of pieces outside of the usual repertoire. They played Edouard Lalo’s<\/a> trio in a-minor. In his role as introducer and staff musicologist, Krentz described Lalo as a “B composer,” but in this piece–new to me and most of the audience–Lalo produced “A” material.
\nAs Krentz explained, Lalo, a Frenchman of Spanish extraction, was a sort of precursor to the French impressionists, but he is often described as having the stolid characteristics of his late nineteenth century German contemporaries. Not in the a-minor trio. It has the passion of Lalo’s Iberian forebears, highlighted by a highly charged second movement laced with fun, a slow third movement to make your heart ache and a finale to make it race. Park, Krentz and Stambuck poured energy and ardor into the piece. In return, they got applause after each movement, and a standing ovation at the end. They deserved warm appreciation, but the obligatory Standing O is becoming as common among classical audiences as is automatic applause for jazz solos, no matter how dumb or boring. If you’d like to review the Rifftides<\/em> applause discussion of a few months ago, you can go here<\/a> and trace it back through the links.
\nOn their website, Finesterra has MP3 samples<\/a> of the Lalo a-minor. Unfortunately, they have yet to record the entire work. Until they do, there are choices. Still high on the aftereffects of the Finesterra performance, this morning I sampled other options. I found the Gryphon Trio<\/a>‘s approach a bit soggy. The Parnassus Trio<\/a> edged out the Salomon<\/a> for second place to what I heard last night. They both have fine versions, but they don’t achieve quite the vigor of the Finisterrans. It’s good to see chamber music alive and well in the hands, minds and hearts of a hip young group like the Finisterra Trio.<\/p>\n","protected":false},"excerpt":{"rendered":"

Last night I dropped into The Seasons to catch the last half of a concert by the Finisterra Trio, the hall’s artists in residence. They are violinist Kwan Bin Park, cellist Keven Krentz and pianist Tanya Stambuck. In previous posts, I have mentioned this Seattle piano trio’s finesse and enthusiasm. One of their other strong […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-619","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/619","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=619"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/619\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=619"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=619"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=619"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}