REVIEW

Trio's sole fault was understatement

Sunday,  November 16, 2008 12:28 AM

THE COLUMBUS DISPATCH

Much in the classical music world has changed in the past decade and not all for the bad. One of the better developments in this country has been an explosion in interest in chamber music. Young musicians have been putting together trios and quartets in record numbers, often while still in school.

Judging from its energetic playing last night at the Southern Theatre, the Claremont Piano Trio - founded at Juilliard nine years ago - must be counted among the more exceptional. Sisters Emily and Julia Bruskin, violin and cello respectively, and pianist Donna Kwong surely play with the enthusiasm of youth. Happily, their dynamic approach to music-making is accompanied by strong technical and interpretive skills.

Haydn has long been a staple on chamber music programs, but too often his music is performed as if it's an unpleasant duty to be gotten out of the way, a little like giving the audience its dose of medicine. The Claremont cannot be accused of that failing. In fact they woke up Papa Haydn in an exciting reading of the Trio in G Major (Gypsy).

One did sometimes wish for less piano and more depth, though the piano does have a major role in this work. The adagio movement in particular came across as if the players were skimming the surface. Still, it was Haydn with enthusiasm.

A recent work by Paul Schoenfield called Caf Music made a delightful diversion, with its plethora of poppish tunes and ragtime reflections. Though its crazed finale was an edge-of-the-seat barnburner, the most memorable music-making came in the middle movement, which had the wistfulness of a dream. One applauds the recent trend among composers to write music audiences actually enjoy hearing.

The finale - Dvorak's Trio No. 3 in F Minor, Op. 65 was a good choice for this dynamic ensemble. If classical music can be described as "fun," and why not, this work qualifies - even with its minor mode.

The consistent disappointment in the trio's performance is its sound, a separate and distinct quality from everything else and one over which the group does not have complete control. Since locals know the Southern Theatre is kind to stringed instruments, the problem wasn't the hall.

The Claremont is a little like a talented singer without a pretty voice. One suspects upgrading to better stringed instruments would solve the problem.