The amazing trio did it again. They select pieces for their Chamber Music Concerts that may be unknown or at least unfamiliar from great composers. At the Gunn Theater, in the California Palace of the Legion of Honor, Sunday, May 31, it was Wolfgang Amadeus Mozart, Piano Trio in E major, K.542 (1788); Johannes Brahms, Sonata No. 1 in E minor for Cello and Piano, Opus 38 (1865); Piano Trio No. 1 in D minor, Opus 63 (1847). Each one was completely different from the others, and each was performed perfectly.

Barantschik on violin, Anton Nel on piano, Peter Wyrick on cello: it is impossible to judge and bring out notes from 10 to 0. These artists are above 10. Each one is superb, and together they are a marvel.

Mozart’s Piano Trio in E major has delicate feelings and also jolting changes of keys. The music comes to a stop and then resumes. Musicians especially like this piece. Chopin chose to play it in Paris when he knew it would be his last concert in Paris. This first movement, Allegro, is strong at the same time it is lovely and moves on into the happy-plus theme. The listener is charmed and yet wonders where it is going. The second movement, Andante grazioso, brings a graceful sound with a background of worry or loss. Mozart is changing harmony, but he is Mozart and can change harmonies where and when he finds them fitting in the Andante grazioso. The final movement is Allegro. The piano plays in the upper octaves. When that happens, it is music on a toy piano, the best toy piano there is. It is Anton Nel who is playing the piano as though its sound is a toy. Nel knows more. The cello is quiet for most of the movement which is fulfilled by violin and piano cadenzas. However, the cello has his turn and closes a cadenza solo summing up a beautiful, and complicated fairy tale. Beautiful.

Brahms’ Sonata No. 1 in E minor for Cello and Piano, Opus 38 is a magnificent force of nature in music. In the first movement, Allegro non troppo, Brahms moves his storm into several different keys and works up surprise harmonic changes with counterpoint between piano and cello. The music becomes more quiet and natural. There is a darkness that spreads across the music as though it is a painting. The second movement, Allegretto quasi menuetto, employs the minuet and then waltz time. It is a dance that may not be enjoyed by both partners. The dancers do not look at each other. It is a dangerous dance. In the third movement, Allegro, Brahms allows the audience to be seized, overwhelmed as though the music is moving in immense boulders. He crashes into the rocks, and the rocks slam into other rocks. Earthquake or avalanche, Brahms knows what a devoted hiker might see. It is an astonishing Sonata.

Schumann’s Piano Trio No.1 in D minor, Opus 63 (1847) trios by Fanny Mendelssohn Hensel, Felix Mendelsson, and Clara Schumann gave Schumann inspiration to develop composing in his own way. He begins the first movement, Mit Energie und Leidenschaft (with energy and like a song). He was involved in his study of counterpoint and that kept all three instruments working together. Then the cello is on it own to bring the piano into the contrapuntal music and then the violin. It is like a play in which one character starts her lines and the others want to speak their own thoughts. One does not know what to expect from the conversation. The second movement, a scherzo, tries to smooth the sounds though knowing that there is anxiety waiting backstage. Schumann likes to build a canon although the canon has the ability to dive into the anxiety and makes the music jumpy upstage. The third movement, Mit inniger Emplindung (with utmost feeling) gives us the gentleness of beautiful music. This section truly gives the audience thoughtfulness and just a bit of thinking things over by this side and that side. Schumann has decided. He wants to open his arms to life. Schumann, Barantschik, Nel, Wyrick and all the audience have a grand love as the key changes from D minor to D major. We all know there is still that possibility of what or who is drenched in sadness, but we are happy and thrilled to hope.

As we left the theater, it seemed like everyone asked the usher “when do they come back?” The usher said “November.” The audience will be there for sure.