WESTMINSTER CONCERT SERIES, “An Evening of French Romanticism,” Vieve Gore Concert Hall, Westminster College, March 23

Monday’s Westminster Concert Series concert was a Francophile’s dream. With music by Camille Saint-Saëns, César Franck and Gabriel Fauré — three of the most significant French composers of the second half of the 19th century — it was an evening of high energy, intense emotions and refined expressions, played by a group of technically assured performers with a keen sense of interpretation and polished musicality.

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

The concert opened with Saint-Saëns’ Piano Trio in F major. Saint-Saëns’ chamber music has taken a backseat to his orchestral works, but this trio is a gem in the chamber repertoire. The work exhibits a sophisticated blend of classically structured form and clarity of phrasing and expression and romantic sensibility. It is a captivating piece that is distinctly French in its exuberant melodicism.

Utah Symphony colleagues Claude Halter, violin, and Anne Lee, cello, together with pianist and Westminster Concert Series director Karlyn Bond, gave a scintillating account of the trio that captured its lyricism and charm. It was an engaging performance that was vibrant and well articulated and executed.

The other two works on the program — Franck’s Violin Sonata and Fauré’s Piano Quartet in G minor — are cut from a different cloth than the Saint-Saëns trio. Whereas the trio is delightful ear candy, the other two are weightier with more emotional depth and power.

Bond and Utah Symphony violinist Alex Martin gave a stunning perusal of the violin sonata. It was compelling and at the same time captivating. They underscored the work’s immense harmonic and emotional palette with their sensitive and intelligently conceived interpretation. As a duo they meshed well together; they fed off each other and complemented and balanced each other’s playing fabulously. Each was an extension of the other, and that is what chamber music is all about. And the result was a magnificent presentation of one of the most technically challenging and significant violin works from the late 19th century.

Closing out the evening was a stellar performance of the Fauré quartet by Martin, Lee, Bond and Utah Symphony violist Joel Gibbs. They explored the work’s overwhelming dark side with an intensely driven and impassioned reading. They played with fire and boldness, while never ignoring the intricate lyricism that is woven into the music.

While the work, of course, relies on the finely balanced collaboration among the four players — which was evident in their performance — it is for all intents and purposes a piano concerto. The piano part is huge and demanding, but Bond made it look easy.  She acquitted herself spectacularly and made this work come alive in her hands. But even though the piano is the dominant player in the quartet, Bond never overpowered or overplayed her partners. There was a wonderful balance among the four instruments that made this performance truly a collaborative effort.

There is no question that this was one of the most memorable concerts in the Westminster Concert Series’ history.