The Osiris Trio is not the sort of ensemble that will blow you away with pyrotechnics and dazzling execution, or with overflowing energy. Yet for natural and honest music-making, Osiris provided generously in its Sunday recital at Kohl Mansion in Burlingame.
Many of today's best groups seem to leap out of their seats and give 120 percent to grab the audience by the lapels. But the all-Dutch Osiris Trio displays a more reserved, understated style that succeeds at approaching music from a different direction. (Perhaps this is the trend in Europe nowadays?) In a way, this is what you'd expect from a group celebrating its 20th anniversary. The initial thrill of the relationship may have faded, while a deeper, more stable sense of understanding and acceptance takes its place.
Osiris Trio
This isn't to say that the performance Sunday lacked excitement, for violinist Vesko Eschkenazy's cross-rhythmic runs in Frank Martin's Irish jig were brilliant, as were pianist Ellen Corver's virtuoso lines at the end of Beethoven's "Archduke" Trio. Yet the group was at its most convincing in its natural rubatos and elegant turns of phrase, especially in the first movement of the Beethoven.
The concert opened with a Beethoven "Without Opus" number — an elegant little allegretto, and charming, but characterized by a "neither here nor there" attitude. Obviously, the intent was not to start the program with a bang, or with some brief exciting overture, but rather to present a subdued appetizer before getting to the real meat of the offering.
Joy of Discovery
This was followed by two pieces that I had never heard before, or even heard of: Ernest Bloch's Three Nocturnes, and Frank Martin's Trio on Irish Folk Tunes. I am always happy to be presented with new and unique pieces of music. How many times can you listen to the same old warhorses? Why not accept a challenge? And who knows, maybe you will discover a new favorite.
Great composers have unmistakable signature styles that are all their own. In Bloch's case, the characteristic can often be instantly recognized; his Nocturnes are typical in this regard. From the first epic chords with their modal openness, the heavy but not biting dissonances, and a sense of epic age, the "Bloch sound" was immediately apparent. This is not to say that all Bloch sounds the same — only that he writes in an extremely well-defined musical language. And in this language, many stories are told. The Osiris performed the work's many sound colors and beautiful melodies to great effect. They conjured the mysterious Bloch sound with a well-reserved passion.
I had never even heard of Frank Martin (1890-1974), though it's evident that he was an excellent composer. This is one of the greatest rewards of going to hear live music: being introduced to unlikely new voices. "New" here is only a relative term, for Martin's trio is some eight decades old, having been written in approximately the same time as Bloch's Nocturnes. The two pieces have many similarities, especially in their modal harmonies and jazzy rhythmic explorations. The Irish influence in the Martin work was most evident in the last movement, performed with a fun lilt by Osiris. I could practically picture the Riverdancers.
Sublimely Familiar
These two selections were well-chosen, and it was also interesting to hear that rarely heard Beethoven opening piece. After intermission, I was reminded of why warhorses are so often taken to battle. Beethoven's "Archduke" Trio in B-flat Major, Op. 97, is a piece full of sublime musical utterances, especially in the first three movements. (The last movement is little more than show, in my humble opinion.) Many of its phrase endings simply cannot be played with straight rhythm (which would be a musical crime). Emphasis must be placed by taking time — making a slight hesitation in the beat, to convey the music's meaning. This is standard; every group that knows what it's doing takes time in these places, even though Beethoven doesn't explicitly indicate it.
The next question facing performers is exactly how much time to take, and how to sustain the sound during this suspension of sound. I was particularly impressed with the way that Osiris took these rubatos. The time taken felt as if it wasn't taken at all; instead, it flowed with a clear and instinctual understanding among the three members of the ensemble. It was a pleasure to listen to.
The counterpoint in the second movement was also well-balanced and lucid. Cellist Larissa Groeneveld's long melodies in the slow third movement were sustained with a broad, beautiful sound. As an encore, Osiris performed the first movement of Dvořák's "Dumky" Trio, which is featured on the group's recently released CD.
This Sunday evening recital was part of Music at Kohl's current season, which features local favorites, as well as international ensembles. Kohl Mansion in Burlingame is always a classy, intimate locale for a concert. With festively elegant and unique winter holiday decorations, the setting was truly magnificent.
