The Portland Piano Trio appeared in concert at the Historical Museum of Sanford-Springvale on the evening of May 4. The Trio consists of Violinist, Tracey Jasas-Hardel, Cellist, Wayne Smith and pianist Anastasia Antonacos. This concert was the last in the classical series for 2018-2019 and the well attended group of chamber music lovers showed their appreciation by applauding after each movement of the two selections. The program consisted of Ludvig van Beethoven’s “Piano Trio in D Major, Opus. 70” and “The Piano Trio in C Major, Opus 87” by Johannes Brahms. Neither work is what one might refer to as “easy” listening.” Music historians tend to divide Beethoven’s creative work into three periods. This particular work would come from the middle of his most fertile middle period.
Chamber music, that is music composed for anywhere from two to five instruments were intended to be performed not in a large concert hall but rather in a smaller room (i.e. “chamber”) of either an aristocrat’s residence or some fairly wealthy lover and/or patron of the arts. In this particular work, (and the Brahms as well) the third member of the group is a pianist, the same creative instrument of the composer. What this implies is that while the composer will be writing for other instruments, in this case a violin and a cello, the piano part will hardly be what we today would refer to as a “back up” part. In fact, the piano is the first among equals in both the Beethoven and Brahms trios.
With regard to the performance of the Beethoven Trio, one noticed that the ensemble of the group was excellent, and that things like increases and decreases of volume were very well executed. It was obvious (to me) that the musicians were well rehearsed and each knew their part. While I knew from previous encounters that Ms. Antonacos was an excellent pianist, I did not realize just how very good she is. Her command of the mighty Bechstein grand was impressive, her passage work secure, and the delicate ornamentation (trills) were superbly executed. The cellist, Mr. Smith had a full bodied tone, even from top to bottom of the instrument and his musicianship was impeccable. Whatever he played, be it a full bodied melody or simply a brief figure was always expressive. I cannot give Ms. Jasas-Hardel high marks for the Beethoven. Yes, she did know the music and knew it very well. However, there were many lapses of intonation. More than that however, was the fact that her tone was relatively thin and did not compare favorably to that of the cello. Things changed considerably, however for her in the Brahms. The Brahms is essentially a symphony for the three instruments, even has four movements too! In this work, especially in the second and third movements, she seemed to be more energized and her tone, especially in the upper register was what one hoped for in this dramatic and expressive composition. The three of them gave a moving performance of this composition. I would have to especially commend the work of Ms. Antonacos in the last movement in particular. The energized audience showed their appreciation by giving the group a standing ovation.
There are three concerts planned for the summer months. These include the following: Saturday, June 15, The Milltown Roadshow featuring a blend of “Americana” music; Saturday July 13, La Famillie Leblanc Band featuring an evening of Franco-American music; and Friday, August 16, the Cedar Mountain Bluegrass Band playing Bluegrass Music.
On Oct. 5, the Museum begins a classical series welcoming the return of Ilya Kazantsev, pianist and Sergei Antonov, cello. (I have plumb run out of superlatives for these two.)
Continuing a recent tradition. The Renaissance Voices return to the Museum on Saturday, Dec. 7 with a program of a cappella Christmas music.
It might be a bit premature but I would like to take these means of announcing the world premiere of “Acadia,” a new work of mine for piano and wind symphony. It will be performed at the Sanford Performance Art Center on May 25, with myself as soloist with the Stratford Wind Symphony.
— Dr. Mortin Gold is a composer/conductor, retired educator and an arts reviewer for the Journal Tribune.
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