5 Apr 2009 : “Vontasia” - Forum North, Whangarei

What’s “Vontasia”? I sought enlightenment. The blurb burbled on about “innovative repertoire”, “dynamic interpretations” and “sheer musical chops”. Now my ignorance extends beyond “Vontasia” to “musical chops”. Never mind. Redolent of those fashionable, flowery corporate manifestos, this blurb is merely gilding. I was much more interested in the lily itself.

For five of its seven years NZTrio – comprising Justine Cormack (violin), Ashley Brown (cello) and Sarah Watkins (piano) – has been in residence at Auckland University. Many have built parallel reputations in teaching and performing, but NZTrio seems to have made more of it than most; they play as though virtuosity is just an incidental.

The programme combined a musical excursion – from Europe, through China to Indonesia, then back again – with commemoration of Haydn’s departure in 1809 and celebration of Mendelssohn’s arrival in the same year. Although the sandwiching of modern by ancient smacked of sugaring the pill, actually there was nothing likely to distress members of the “blue rinse set”.

Discreetly exploiting the more exotic sonorities of violin and cello, the three “pills” were predominantly, pleasantly atmospheric. The mountain air of Chen Yi’s “Tibetan Tunes”, filtered through these alien instruments, was certainly attractive, probably in the manner of Hungarian folk tunes dished up for tourists. NZ resident Wayan Yudane’s mildly pungent “Entering the Stream”, with its intimations of Gamelan, occasionally alluded to both Bach and Bartók. In the slightly more pungent and somewhat serialistic “Shades”, Mike Yuen of Hong Kong had Sarah poking around – to disappointingly minimal effect – inside her piano.

Didn’t Haydn ever have any off-days? His E minor Piano Trio (Hob. XV:12), wending from weighty drama through perturbed serenity to animal exuberance, is but one gem from an entire Aladdin’s Cave. In the central Andante, I’d have preferred proper classical coolness to the NZTrio’s somewhat anachronistic smouldering romanticism. However, their outer movements were spot on. The Allegro Moderato was weighted yet crisp, with finely-felt dynamics and drama enhanced by breath-catching, immaculately measured pauses. Bristling with crystalline attack, the final Rondo twinkled joyously, the players bobbing in their seats as they propelled Haydn’s trademark wit merrily along.

Mendelssohn’s Piano Trio No. 1 op. 49 grabbed me by the throat, and provoked thoughts. Suddenly, that errant romanticism spotlit a significant line of descent. Suddenly, that navel contemplation became less an idle pastime, and more a prelude. Confronted by music of this intensity – which, frankly, leaves the Violin Concerto floundering – how could anyone maintain that Mendelssohn was insipid?

NZTrio got stuck in with great gusto, passing the musical baton with seamless grace, staying nimble even with the wick turned up. The Andante was wonderfully relaxed yet mobile, possibly possessing the classical cool owed to the Haydn. Their sizzling Scherzo, striking showers of incandescent sparks, underlined Mendelssohn’s supreme agility. But, come the finale, the playing – especially when moulding the nerve-tingling climaxes – bordered on the symphonic. I had to keep reminding myself that there were only three players, who were playing only what Mendelssohn wrote. Why? Because it felt as though they’d unleashed an inferno. I came away with renewed respect for this occasionally-maligned composer, and with some regret that this eye-opener had not been recorded.

Paul Serotsky, Music Web International (Seen and Heard) and Northern Advocate