Under overcast skies that eventually gave way to sunshine streaming over Gordon Hall, the Lysander Piano Trio—formed by students from the Juilliard School and named after the character in Shakespeare’s A Midsummer Night’s Dream—delivered an impressive performance. They began with Sergei Rachmaninoff’s Trio Élégiaque in G Minor, No. 2 (1892), composed in memory of the renowned Pyotr Tchaikovsky.
Initially, Rachmaninoff was known primarily as a pianist, and in this revised version of the piece, he enhanced the roles of the cello and violin. However, the piano remains central, played with profound emotion by Liza Stepanova. The elegy opens with a somber melody, which pervades the three-part work. The second movement features eight variations on a theme from Rachmaninoff’s symphonic poem “The Rock,” giving more prominence to the violin and cello. The final movement again highlights the piano, with Stepanova’s passionate performance conveying the sorrow of Tchaikovsky’s loss.
The trio then performed two Nguni dances by Bongani Ndoda-Breen, the composer of Winnie: The Opera, which portrays the life of Winnie Mandela. This brief, four-minute piece featured intricate African rhythms from Bantu pastoral culture, with a cyclical repetition of musical motifs. The piano’s alternating hands in G created a charming and exotic soundscape.
Next, they presented Nostos (2022), a work commissioned by the Lysander Quartet from fellow Juilliard student Udi Perlman. The Greek word “nostos,” meaning a journey home, reflects Perlman’s experiences traveling globally. The piece describes a series of challenges, with the violin and cello leading. As the piece neared a potentially alienating moment, the piano introduced a nostalgic melody that lingered in my mind, providing a delightful conclusion. Perlman is currently pursuing a doctorate in musical composition at Yale.
After the intermission, the trio performed Antonín Dvořák’s Piano Trio in F Minor, Op. 65 (1883). Composed during Dvořák’s close association with violinist Joachim and Brahms, this work is often regarded as Dvořák’s most “Brahmsian,” influenced by Brahms’ Piano Quintet, Op. 34, while incorporating Czech motifs. Though a trio, its sound transcends the genre. The work, more somber than Brahms’s piano quintet, subtly reflects the death of Dvořák’s mother, Anna, in December 1882.
The first movement, in sonata form, begins with poignant pathos, highlighted by Itamar Zorman’s expressive high-pitched violin. The second movement features an unconventional Scherzo with a piano that shakes with uncertainty. The slow third movement, dominated by Michael Katz’s resigned cello, contrasts with the final movement’s more vibrant conclusion, where all three instruments achieve a heartfelt intensity, affirming life’s continuity in the face of mortality.
The audience’s enthusiasm led to three encores. The trio closed with an excerpt from a piece by Amanda Röntgen-Maier (1853-1894), a Swedish violinist and composer and the first female graduate from the Royal College of Music in Stockholm. The lively harmonics and nimble colors of the piece were intriguing, though I lacked context for a full interpretation. I would have enjoyed hearing more of her work.
The Lysander Piano Trio continues to demonstrate a deep appreciation for global music.
