The final performance in the Canberra Symphony Orchestra’s Chamber Classics series, titled Affinities, presented a thoughtful program for an intimate ensemble: violinist Kirsten Williams, cellist Patrick Suthers, and pianist Susanne Powell. The event aimed to explore connections between composers, focusing primarily on Dvorak and his protege and son-in-law, Josef Suk. However, the program opened with a brief Suk piece before moving into several of Dvorak’s shorter works, ultimately culminating in Mendelssohn’s Piano Trio No. 1 in D Minor. While the thematic connection between Suk and Dvorak was less prominent, the selection certainly delivered what Michael Flanders might have described as “a jolly pleasing noise.”
The program began with Suk’s Elegy, an emotive piece that allowed the musicians to gradually build intensity. The mournful violin line led into a deeply expressive cello melody, concluding on a calm and peaceful note. While beautiful, Elegy served more as an appetizer than a deep dive into Suk’s music.
Following this, the musicians performed selections from Dvorak’s Romantic Pieces for violin and piano, which showcased Kirsten Williams’ skill and sensitivity. The program continued with Songs My Mother Taught Me, adapted for the trio, though the piano part presented minor challenges at times. Dvorak’s Silent Woods, originally composed for two pianos and later arranged for cello and orchestra, was especially evocative, with Suthers delivering a lush and nuanced performance that transported the audience to the serene landscapes of the Czech forests.
The second half of the concert was dedicated to Mendelssohn’s Piano Trio No. 1 in D Minor, a work renowned for its lyrical beauty. The lively first movement, Molto Allegro, featured piano runs reminiscent of Chopin’s style and even incorporated waltz-like passages that drew mid-piece applause. The Andante second movement offered a tranquil, lullaby-like melody, and the scherzo, marked “leggiero e vivace,” brought lighthearted moments, concluding on a subtly humorous note. The finale’s spirited interplay highlighted the musicians’ synergy, with baroque-style elements from the cello leading into a lively cadenza.
Despite minor tuning adjustments between pieces, the performance captured the audience’s admiration. Dvorak and Mendelssohn’s compositions offered a fitting end to the Chamber Classics series, and Suk’s brief but memorable inclusion sparked interest in his broader work. The concert was both a satisfying conclusion to the season and an invitation to explore Suk’s contributions further.
Related Topics
- PJ Harvey Credits John Parish as Her Ultimate Guitar Inspiration: “I Learned Everything from Him”
- Gene Simmons Critiques Jerry Garcia’s “Limited Range” Despite Grateful Dead’s Legacy
- Ritchie Blackmore’s “Shit-Hot” Pick for 1980s Guitar Great
