FRENCH ROMANTICS ON WESTMINSTER CONCERT MONDAY

Monday’s Westminster Concert Series concert focuses on three 19th century composers who epitomize French romanticism: Camille Saint-Saëns, César Franck and Gabriel Fauré.

From left: Claude Halter, Anne Lee, Alex Martin, Joel Gibbs and Karlyn Bond (Photo: Courtesy Westminster Concert Series)

There is a common thread among the three composers, according to pianist and series director Karlyn Bond. “These three composers had something big in common besides being French; they were all virtuoso organists and held positions in major Paris churches for years. Franck’s style was significantly influenced by his understanding of the organ (particularly the mammoth French organs of the 19th century, with their somewhat unique expressive potential), and his improvisatory genius at the instrument, for which he was celebrated for decades at St-Clotilde,” Bond wrote in an email to Reichel Recommends.

On the program are Saint-Saëns’ Piano Trio No. 1 in F major; Franck’s Sonata for Violin and Piano; and Fauré’s Piano Quartet No. 2 in G minor.

“Of these three works, the Franck is by far the best known, an indisputable masterpiece, and one of the most beloved works in the violin/piano repertoire,” Bond said in her email.

Saint-Saëns is best known today for his orchestral music and not so much for his chamber music output, something Bond laments. “The Saint-Saëns piano trios are not frequently performed but deserve more attention than they receive.”

Franck wrote only two piano quartets, and the one on the program happens to be the least known of the two. “Of Fauré’s two piano quartets, the C minor has received more attention than the G minor, though the latter is a truly impressive work. In it, romantic restlessness and intensity are perhaps even more pronounced than in the C minor, and more frequently interwoven with quirky, unexpected harmonies and harmonic progressions. About the serene slow movement, Aaron Copland said, ‘Its beauty is truly classic if we define classicism as intensity on a background of calm.’”

Joining Bond Monday will be Utah Symphony colleagues Claude Halter and Alex Martin, violin; Joel Gibbs, viola; and Anne Lee, cello.

  • CONCERT DETAILS
  • What: “An Evening of French Romanticism”
  • Venue: Vieve Gore Concert Hall, Westminster College
  • Time and Date: 7:30 p.m. March 23
  • Tickets: $15 general, free for students and Westminster College faculty and staff with I.D.
  • Phone: 801-832-2457
  • Web: www.westminstercollege.edu/culturalevents

ARENSKY AND SCHUBERT MAKE FABULOUS MUSICAL PAIRING

BONNEVILLE CHAMBER MUSIC FESTIVAL, First Presbyterian Church, Ogden, March 21

An illuminating program that paired a relatively unknown work (by an unjustly neglected composer) with one of the staples of the chamber music repertoire closed out the ninth edition of the Bonneville Chamber Music Festival Saturday.

Anton Arensky

The Russian Anton Arensky is today an obscure composer who, like so many of his contemporaries, stands in Tchaikovsky’s shadow. But his music has a lot of merit and deserves to be revived.

The work by Arensky that was on Saturday’s program, the String Quartet No. 2, op. 35, is a glorious piece that contains many different elements, not the least of which an imaginative use of Orthodox chant-like melodies that are cleverly juxtaposed with effusive, soaring melodies that could have come from Tchaikovsky’s pen. Its problem, and the main reason why it is hardly ever played today, is the fact that it is scored for the unusual quartet combination of one violin, one viola and two cellos.

Fortunately, BCMF’s founder, Viktor Uzur, is a remarkable cellist with a wonderful sense of programming and he invited his former teacher, cellist Suren Bagratuni, to join him, along with violinist Livia Sohn and violist Mikhail Bereznitsky for a spectacular performance of the Arensky.

The four put their remarkable artistry on display as they gave a probing and vibrant reading of this neglected gem. They captured the lyricism of the work with their finely crafted expressions and delivery. The work is sectional in structure, but they brought cohesion to each of the three movements with their seamless and wonderfully balanced playing.

For the Schubert, violinist and Brigham Young University faculty member Monte Belknap joined the others. Their account was magnificent as they delved into the intricacies and nuances of the score. One of Schubert’s chamber music masterpieces, the five play it as if it had been written for them. They brought out the subtleties of the music with their sensitive and beautifully molded phrasings while also delving into its romantic passion.

Their eloquent playing let the music speak for itself and made the work shimmer with lyric beauty. This was especially noticeable in the Adagio, where the five brought an otherworldly glow, even in the more stormy middle section, to their reading that was enthralling, thanks to their carefully crafted and executed delivery.