Schuller’s A Trio Setting, completed
in 1990, is a substantial work in four movements of which the brief
first movement is more like a brilliant accompanied cadenza for clarinet,
a colourful curtain-raiser introducing the other, weightier movements.
The sparkling introduction is followed by an emotionally restrained,
but deeply-felt slow movement marked Slow and dreamy which nevertheless
encloses a brief and sudden climax. This is then followed by a lively
Scherzo with a calmer middle section of some intensity. The concluding
Molto Agitato is quite tense at times but also has a slow section
providing for some respite before the return of the agitato material
rushing the music to its forceful, dramatic conclusion.
In total contrast with Schuller’s tense, often troubled
trio, Averitt’s Tripartita is somewhat lighter in mood,
though definitely not lightweight music. The first movement states a
number of ideas that are worked-out in the following movements. The
music, however, often incorporates elements derived from popular music
idioms. So, the second movement Dances (actually a Scherzo with
two trios) has some jazzy inflections whereas the third movement Blues
with Variations, thematically linked to the preceding Scherzo, also
contains echoes of waltz and tango. This is a quite attractive work,
superbly crafted and ingenuously worked-out. No trifle, for sure, but
it provides for some relaxation.
Nathan Currier’s Adagio and Variations
is the most substantial and ambitious work in this release. This is
in fact a double set of variations, so the composer tells us, based
on two disparate sources: on the one hand, ‘original’ material and,
on the other hand, a song by Binchois De plus en plus which is
only quoted near the end of the work. The Binchois tune appropriately
acquires more prominence as the work unfolds though the ‘original’ material
is never really absent. Though formally quite intricate, the music has
much vitality, invention and variety, and unfolds almost effortlessly
and seamlessly throughout. Quite an achievement, and this beautifully
wrought piece is much more than the expert and clever working-out of
some technical considerations. Rather it is a very rewarding musical
experience that repays repeated hearings. For the anecdote’s sake, I
was delighted to read that this piece was composed in Liège.
CRYSTAL’s series The Making of a Medium, of
which this release is Volume 3, not only demonstrates the outstanding
musical qualities of the Verdehr Trio but also offers an excellent survey
of the many works written for them. This release is, no doubt, one of
the most rewarding so far for its couples three substantial works of
quality that are well worth hearing.
Hubert Culot
The Verdehr Trio (Walter
Verdehr, violin; Elsa Ludewig-Verdehr, clarinet; Gary Kirkpatrick, piano)