If a concert were viewed as a book, then I “read” a poignant and dramatic treatise in sound, along with a couple hundred other people last Saturday. The theme was the end of life’s journey, a tragic tale told by the 20-year-old Serge Rachmaninoff, grieving over the death of his mentor, Pyotr Tchaikovsky of Nutcracker fame.
Performing this rarely (if ever) heard work was The Amelia Trio, most recent performers in the continuing Unity Temple Concert Series in Oak Park, now in its 35th year.
The trappings appeared so commonplace and familiar-a youthful violinist, pianist, and cellist from the East Coast, making one of a few Midwest stops on a tour, toting along a light work by Edvard Grieg (“Andante con moto”), and a trite work by the pre-pubescent Richard Strauss. Like the old adage about getting beyond the cover of the book, the billing of old, familiar names in such a pared-down format of little-known works gave no hint of the sensation that was to come.
On the inside, this plain paper wrapping gave way to an evening of intensely powerful and expertly played music. Although the players were skilled in their delivery of both pieces on the first half, they could have skipped the pallid imitation of Mozart by Strauss, who fortunately found his own distinctive 20th-century voice a few years down the road.
The far more memorable “Elegiac Trio,” Opus 9, of Rachmaninoff showed the true mettle of a deeply sentient and artful master, who, with my apologies, is best known today for his four sappy and entirely over-worn piano concertos. But being a pianist, Rachmaninoff was perhaps instinctively capable of blending the piano with a violin and cello. A small tragedy that he only wrote two works in this genre.
The three performers, faculty colleagues at the Hartt School of Music in Connecticut, gave a superb and artful reading of the trio-expansive, technically tight, and full of passion. Watching the sweeping arms and flying bows, the delicate synchronization of Anthea Kreston’s and Jason Duckles’ right hands, and the deceptively diminutive powerhouse Rieko Aizawa at the piano created an athletic choreography that added substantially to the musical impact.
When one watches anything at Unity Temple the caveat about the mostly disappointing sight lines from many seats rears its ugly head. Although hometown architect Frank Lloyd Wright paid careful homage to a Greek temple that would gather in the masses, he compromised the mass experience with his linear plan for seating, unless of course, you want to reflect on the great views of the inspiring ceiling and rafters from any spot in the house. (Tickets are priced according to view.)
Rachmaninoff’s Trio, in Amelia’s excellent interpretation, more than made up for any visual deficiencies, taking off into a realm of spell-binding enchantment. Moviemakers have missed the boat by not appropriating this heart-rending music for some epic story on film. The story was unmistakable-sharing a great life born and buried, and somehow through the sounds of this music, the sadness was soothed. As I followed the unbounded melodies on the 45-minute journey, I was amazed. How could he possibly attain yet another emotional high, could the piano ring any more brilliantly, could the strings possibly draw a musical statement even more fervently? This trio exceeded all of the superlatives.
Not a few people in the audience spontaneously jumped to their feet as the last chord fell away, followed by well-earned shouts and hearty cheers amidst the usual applause. The crowd was ecstatic, but from those heights, I felt the tragedy that Tchaikovsky never heard this eloquent musical testimony from his young protégé.
The Unity Temple Concert Series is a precious commodity in the Oak Park arts market. Your last chance to get in on the experience this year is April 26 when Sones de México Ensemble performs traditional fandango folk music. For more information, go to www.utrf.org or call 708/383-6015.