SEEN AND HEARD INTERNATIONAL

Coming just two weeks after a performance of Beethoven’s E-flat-major Piano Trio, Op. 70 No. 2, the B-flat-major “Archduke” Trio that concluded this Olympic Music Festival program offered a spectacular demonstration of the composer’s sheer range of style and expression. After a deceptively dreamy opening, the earlier work launches into a veritable whirlwind of that supercharged activity characteristic of middle-period Beethoven. A mere two or three years later, with the “Archduke,” the composer stood on the threshold of his third and final period, associated with a more philosophical–even mystical–tone and manner.

Though certainly not lacking in energy and dynamic power, this is music that breathes a profound and genuinely Olympian calm. It was superbly realized in this performance by the N-E-W Trio, making a welcome return appearance after its spectacular debut at the festival last summer. Named for the family initials of its three members–cellist Gal Nyska, pianist Julio Elizalde, and violinist Andrew Wan–this is one of the most impressive young ensembles now before the public. Mozart’s G-major Trio, K. 496, which opened the proceedings, had already shown off the players’ seemingly instinctive mutual understanding, and their ability to spin elegant lines without any loss of emotional heft.

It was perhaps, however, at the beginning of the afternoon’s second work that the group’s quality first became fully apparent. Shostakovich’s Trio No. 2 in E minor begins in regions of ghostly pianissimo; Wan and Nyska created an awe-inspiring sense of denatured incorporeality, and when Elizalde joined their questing duo, he was able to intensify what had already seemed beyond further refinement. The more boisterous moments in the work were thrown off with all of the instrumental virtuosity and willingness to take risks that are no less essential if Shostakovich’s deeply ambivalent musical character is to be convincingly revealed.

That was the finest performance of the E-minor Trio I can recall hearing, yet the “Archduke,” after intermission, matched it alike for stylistic refinement and for a richness of musical insight astonishing in players still in their mid-20s. Beethoven’s deeply and magically contemplative slow movement, in particular, was beautifully done. Along with the artistic stature they have already achieved, these three dedicated musicians may certainly be expected to establish themselves in coming years among the finest chamber-music players among their contemporaries and even among their most respected seniors. The prospect is thrilling: do not on any account miss any opportunity you may have to hear them.

Bernard Jacobson