On Saturday afternoon, the Chamber Music Society of Fort Worth presented a remarkable performance at the Modern Art Museum, featuring the Atrium Quartet, pianist Jihye Chang, and CMSFW artistic director and violinist Gary Levinson. The program included works by Borodin, Fauré, and Brahms.
This ad hoc ensemble was composed of highly sensitive and skilled chamber musicians. The program and performers were last-minute replacements for the UK-based Marmen Quartet, after one member was unable to secure a visa to travel to the U.S.
Borodin’s Grand Trio, which he left incomplete, was performed in two movements for two violins and cello. The piece, written in a light, conservative style, showcased the delicate artistry of Atrium violinist Anton Ilyunin and cellist Anna Gorelova, who were joined by Levinson, whose smooth, rich tone guided the performance. The two violinists demonstrated great sensitivity to the music, complementing each other perfectly.
Gorelova’s expressive, singing tone was featured prominently in the thematic material. In the second movement, Ilyunin contributed an equal share of melodic lines, including high passages played with warmth.
Fauré’s Piano Quartet in C minor, Op. 15, one of his early chamber works, was next on the program. Ilyunin and Gorelova were joined by Chang and Atrium violist Dmitry Putulko. The piece opened with lush string tones, accompanied by the subtle piano. Chang’s playing was sensitive throughout, maintaining a near-perfect balance with the other musicians, though at times the cello was slightly overshadowed by the ensemble. The smooth coordination of their styles and articulations suggested the familiarity of regular collaboration between three of the performers.
The Scherzo featured clean, clear pizzicato strings, while Chang’s light touch kept the movement buoyant. The middle section, with muted strings, produced a warm, rich sound. The third movement saw solo passages shared between all instruments, followed by sustained, evocative harmonies in the strings, accompanied by sparkling piano lines.
In the finale, the ensemble captured the piece’s rhythmic vibrancy, with Ilyunin’s elegant, singing lines adding to the piece’s joyous energy.
The program closed with Brahms’ Piano Quartet in G minor, Op. 25, one of his first and most popular chamber works. After a brief delay due to a broken cello string, the first movement began with a piano introduction, followed by a sonorous solo from Gorelova. Putulko’s majestic viola tone was featured in several prominent solos, with crisp and articulate interactions with Ilyunin and others.
Chang’s piano playing was marked by precise dynamics, whether in the background or at the forefront. Ilyunin led the performance with taste and a variety of colors, never overpowering the others.
Gorelova played a crucial role in maintaining the steady eighth-note pulse in the Intermezzo, with the group’s performance propelled by tasteful momentum and several tempo changes. Ilyunin’s tone in the Andante third movement was particularly cantabile, supported by Chang’s confident piano playing.
The finale, “Rondo alla Zingarese,” in gypsy style, was filled with raw energy. The ensemble skillfully handled a variety of styles and articulations, with particularly effective pizzicato accompaniments to the swift piano solos. The group tightly unified the uneven phrases, leading to a brilliant, fast-paced conclusion.
Despite having only two weeks’ notice to assemble musicians and create a new program, Levinson and the CMSFW team are to be commended for their quick adaptation and for delivering a performance of such profound musical works with exceptional talent and artistry.
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