The Emerald Trio Shines at Trinity Church
It wouldn’t be fair to let the week go by without a mention of the Emerald Trio’s gem of a show at Trinity Church this past Thursday. Flutist Karen Bogardus, pianist James Matthew Castle and violist/violinist Orlando Wells teamed up for a fascinating and vividly affecting mix of relatively obscure material that gave them the chance to push the envelope and deliver a remarkably robust show that sounded considerably more hefty than one would think just those three instruments could deliver. Even by bigtime concert hall standards, Bogardus’ intonation was a clinic in nuance and subtlety, her attack ranging from crystalline directness to an earthy throatiness with an easy vibrato in lighter moments.
They opened with the comfortable late Romantic cinematics of 20th century composer Seymour Barab’s Suite for Flute, Viola and Piano: bright introduction, a dance theme that shifted from stately to swaying, a crescendoing anthemic Alegretto and carefree closing Giocoso movement. They followed that with the insistent, propulsive Allegro Energico from Castle’s own Sonatina, moving back and forth from an uneasy modernism to more predictably warm, consonant tones; it brought to mind the recent work of Robert Paterson.
Their take on Nino Rota’s Trio for Flute, Viola and Piano had majesty and suspense galore: its opening Allegro with gravelly piano and biting conversational reparteee from Wells, followed by the low-key anthemic Andante and then concluding Allegro, with more low-register piano, harmonies whirling in tandem above Castle’s brooding rumble. Next on the bill was Davide Zannoni’s Le Pressioni del Passato, beginning with an uneasy, steadily marching theme that unwound from plaintiveness to fullscale angst fueled by Wells and Bogardus, then a cosmopolitan bustle on the wings of the piano before Bogardus got to dive deeply into Middle Eastern allusions. As it wound out with vividly intense simplicity, it packed a wallop: it was the showstopper of the afternoon. The trio closed with Stravinsky’s Infernal Dance from the Firebird, in an arrangement by Castle which by force of necessity lacked the bulk of the orchestral version, although it was authentically infernal: pity the listener too close to the business end of Bogardus’ instrument. What a treat it would be to see this fascinating and passionately eclectic group in a smaller room, although realistically they deserve a much larger one.
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