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The Neave Trio Play Transcendent Works by Women Composers at Subculture

Earlier today, was the Neave Trio’s most sublime moment when violinist Anna Williams broke out an aching vibrato during a plaintive solo over a single raptly resonant Eri Nakamura piano chord? Or was it when Nakamura played a savagely sarcastic “charge” motif in the lefthand while whirling through evilly glittering circles with her right?

All that and a lot more happened during their performance of Rebecca Clarke’s 1921 Piano Trio. It’s a shatttering work, as good as anything Bartok or Shostakovich ever wrote at their most translucent. How rewarding it was to discover it on the group’s new album Her Voice, a collection of pieces by women composers. How much more of a thrill it was to see the group play it live at Subculture as part of the ongoing weekly GatherNYC series.

Built around a haunting minor-key chromatic riff, it was the one piece on the bill that gave cellist Mikhail Veselov the most time in the spotlight, particularly when he wove a battlefield haze of harmonies with Williams as Nakamura receded. An unexpectedly puckish coda to the second movement drew spontaneous applause; the danse macabre reprised at the end was even more chillingly vivid.

Likewise, disquiet remained at the forefront throughout most of another work from the new album, Amy Beach’s lushly cantabile Piano Trio in A minor, Op. 150, from 1938. Nakamura’s glimmering phrasing seemed both more crepuscular and muscular than on the album, up to a striking coda to wind up the first movement. The quasi-nostalgic waltz of the second and the echoes of Debussy and boogie-woogie woven into this shapeshifting nocturne at the end also had a welcome vigor.

As an encore, the trio rushed through a burst of Piazzolla, a momentary deviation from the album concept. Before the performance, Williams related how the trio were originally going to title the record 1.8, reflecting the percentage of women composers’ work being programmed by major orchestras  according to a Baltimore Symphony Orchestra survey. Things may have improved since then, but not enough.

There was also storytelling, a jarring interruption that brought to mind a song by a brilliant female composer who wasn’t on the bill, Americana tunesmith Karen Dahlstrom. The protagonist in the first number on her new album finds herself in a New Orleans bar, sitting across from a guy who unbuttons his shift to show her his jailhouse tattoos. She doesn’t say anything, but thinks to herself, “I’ve weathered storms worse than these.”

The Neave Trio’s next performance is Nov 16 at 7:30 PM at the Chandler Center for the Arts, 71 N Main St. in Randolph, Vermont, including these works along with music by Cécile Chaminade and Jennifer Higdon. Cover is $25.

Next week’s installment of the GatherNYC series at Subculture (downstairs from the Culture Project Theatre at the corner of Bleecker and Lafayette) is at 11 AM on Nov 17 with chamber brass ensemble the Westerlies. Seemingly modeled on Lincoln Center’s hourlong Sunday morning “coffee concerts” at the Walter Reade Theatre, there’s java and breakfast snacks (before the show rather than after)…and possibly storytelling as well. Cover is $20.

November 10, 2019 Posted by | classical music, concert, Live Events, Music, music, concert, New York City, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Neave Trio Rescue Obscure Treasures by Women Composers

The Neave Trio – violinist Anna Williams, cellist Mikhail Veselov and pianist Eri Nakamura – go looking more deeply for obscure treasures than most classical ensembles. Their previous album comprised the only known piano trios by Debussy, Fauré, and Roussel. Their new album Her Voice – streaming at Spotify  – is a rare recording of three pieces by pioneering women composers Louise Farrenc, Amy Beach and Rebecca Clarke. The ensemble are bringing those rarely performed works to life at Subculture on Nov 10 at 11 AM. Cover is $20; breakfast snacks (and presumably coffee) are included.

The first work on the album is Farrenc’s Piano Trio in E-flat Major, Op. 33. The first woman to teach at the Paris Conservatory, she was highly regarded as both a pianist and composer throughout the mid-19th century. Don’t let the relentless cheer of the opening movement fool you into thinking that this is just faux-Schubert: proto-Jeff Lynne is more like it. The devious playfulness of the piano and cello underneath Williams’ emotive phrasing is hard to resist.

The second movement has the same translucent appeal, more sedately at first; the Bach-like counterpoint midway through is a neat trick. Movement three shifts abruptly from a generic minuet to a nocturnal theme, rising from steady and muted to a bracing variation on the triumphant opening theme, Nakamura’s icepick precision contrasting with Williams’ phantasmagorical broken chords. The trio vigorously synopsize this confidently mainstream piece of mid-1800s classicism with Farrenc’s dynamically shifting final movement

Beach’s Piano Trio in A minor, Op. 150, written in 1938, is her last major work. Nakamura’s eerily starlit phrasing sails over the similarly uneasy strings, fueling a stern, striking crescendo in the first movement. The three musicians waltz with a ghostly calm through the opening of the second movement. It’s nostalgia in disguise, followed by lively, early Debussy-esque quasi-ragtime. They wind it up with propulsive allusions to boogie-woogie juxtaposed with unsettled nocturnal gleam.

As an early 20th century orchestral violist, Clarke broke the gender barrier in more than one ensemble. Her only piano trio, from 1921, is a stunningly powerful piece of music, a major work that deserves to be part of the standard repertoire. It begins with the same restless, rippling intensity as Beach’s trio, only more so, quickly receding to a brooding, Ravel-esque theme anchored by a belltone pulse. Veselov gets to play a more acerbic, prominent role here more than in the two previous works. Maybe because Clarke was a violist, Williams is similarly enabled to air out her incisive midrange for maximum impact.

The second movement has a gorgeous menace, coldly jeweled piano against stark string harmonies, along with an unlikely, Dvorak-like homesick quality. The marionettish dance and wounded longing in the final movement are as impactful as anything Stravinsky ever wrote. What a treat it is to discover this via such an impassioned performance.

November 6, 2019 Posted by | classical music, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , | Leave a comment