<![CDATA[THE TEMPEST TRIO - Reviews]]>Tue, 05 Jan 2016 19:54:56 -0800Weebly<![CDATA[Tempest Trio dazzles Four Arts audience]]>Thu, 19 Jun 2014 13:10:35 GMThttp://www.tempesttrio.com/reviews1/tempest-trio-dazzles-four-arts-audienceIf you were not at The Society of the Four Arts Sunday afternoon, you missed an amazing opportunity to hear a trio of musicians who have dazzled the concert stage in Europe and the United States.

The Tempest Trio with violinist Ilya Kaler, pianist Alon Goldstein and cellist Amit Peled thrilled the audience with its precise ensemble and exceptional musicianship. The member’s solo reputations extend from Carnegie Hall to more than 20 CDs. In this performance, the musicians displayed their immense skill with a broad spectrum of styles from Joseph Haydn to Leonard Bernstein.

Haydn’s Piano Trio No. 39 in G Major began the program with short themes and humor that caused the piece to be nicknamed the “Gypsy.” Here, the highly decorative keyboard part was perfectly executed and imitated in the other instruments. The group avoided the tendency to use too much vibrato in the string parts and adhered to stylistic norms for the historic period. In the rondo, the chosen tempo tested the collective technique of the players.

In contrast to the limited harmonic vocabulary of the period, Bernstein’s Piano Trio opened the door to the 20th century use of “tone clusters,” exploring shocking melodic intervals that gave the piece intensity. The creative use of syncopation, a typical device that Bernstein used to energize his works, was performed with energy and a high degree of precision. Here, the audience expected the dissonant sounds written by the university student Bernstein as an exercise in modern composition.

The position of this style of piece in the program is intended to let the audience recover during an intermission by presenting an opportunity to discuss the various aspects of the music they had just heard. The skill of the performance brought them back for Antonin Dvorak’s Piano Trio No. 3 in F Minor, Op.65, a highly dramatic work based on large scale themes set in the chromatic harmony of the period. This romantic piece brought out the sensitive phrasing of the highly talented group and once again challenged their skill.

The audience responded with an immediate standing ovation and was rewarded with an encore.

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<![CDATA[Tempest Trio delivers rousing performance as departing Fontana Chamber Arts CEO Abhijit Sengupta bids farewell]]>Thu, 19 Jun 2014 13:08:04 GMThttp://www.tempesttrio.com/reviews1/tempest-trio-delivers-rousing-performance-as-departing-fontana-chamber-arts-ceo-abhijit-sengupta-bids-farewellIn preparing to assume a new executive post in California, Fontana Chamber Arts Artistic Director/CEO Abhijit Sengupta made sure to continue presenting top talent here, his home for the past four years. Saturday night, at Dalton Center Recital Hall, he offered his thanks and farewells to supporters of the Fontana, before introducing the night’s performers, the Tempest Trio.

Founded five years ago, the Tempest features pianist Alon Goldstein, violinist Ilya Kaler and cellist Amit Peled. All three have carried on solo careers in addition to the Tempest ensemble. This, because despite each’s individual, highly distinctive timbre, when playing together they miraculously create an engaging blend.

Sengupta also remarked that Saturday’s all-Brahms concert was more “mainstream” than many other Fontana programs. Kaler and Goldstein opened with Brahms’s Scherzo for Violin and Piano in C minor, WoO posth.2, F.A.E. Goldstein with exactness provided needed rhythmic undergirding, while Kaler’s violin conveyed the dreamy sweet passages, resulting in a short, enjoyable selection.

Peled and Goldstein followed with Brahms’s exciting Sonata No. 2 , for Cello and Piano in F Major, Op. 99. This four-movement work began with the cello rummaging in its lower registers where the tone was especially rich and mellow. In upper ranges, Peled was less successful in producing appealing tones until later in the program when he used the cello like a singing human voice.

Peled was wonderfully attuned to Brahms’s romantic idiom, bowing with brio to emphasize the score’s dramatic elements. Goldstein played with impressive nuance and articulation. Together they created voluptuous music in the two last movements, with the pianist rhythmically brilliant and the cellist propelling melody energetically.

Brahms’s magnificent Piano Trio No. 1 in B Major, Op. 8 proved the program’s apex. Each of four movements offered moments of stunning beauty. Goldstein delicately provided our entry into an aural heaven, where Peled rendered melody with unsurpassed loveliness. Kaler and Peled joined forces for incredibly lovely duet passages. Meanwhile, Goldstein excelled with brilliant technique and empathetic attention to his colleagues’ lines.

The cello’s role in the third movement effectively simulated a beating heart — all toward creating an ineffable sadness. Peled’s involvement in the music was evident throughout. The brilliance of Brahms’s compositional mastery shone brightly in the final movement where Romanticism was epitomized in repeated passages of yearning.

Saturday’s elegant concert was astonishingly affecting, rousing the audience to demand (and receive) an encore, the slow movement from a Beethoven string trio.

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<![CDATA[Goldstein-Kaler-Peled Trio Superb—Even in the Dark]]>Tue, 30 Jul 2013 03:29:08 GMThttp://www.tempesttrio.com/reviews1/goldstein-kaler-peled-trio-superbeven-in-the-darkIf you love Beethoven, then The Society of the Four Arts is the place to be this week. A mini-festival celebrating the composer's birthday opened Sunday with an outstanding concert of piano trios by Beethoven, and the festival will end tonight with a performance of his Triple Concerto with the Palm Beach Symphony. The featured ensemble is the remarkable Goldstein-Kaler-Peled Trio: pianist Alon Goldstein, violinist Ilya Kaler and cellist Amit Peled. Though formed only a few years ago, the trio plays with the assurance and precision of much more established ensembles. All three musicians are respected soloists, and Kaler and Peled hold distinguished teaching positions, at DePaul University (Chicago) and Peabody Conservatory (Baltimore), respectively. Their phrasing is elegant, their attention to dynamics is scrupulous, and their approach is slightly understated.
If you love Beethoven, then The Society of the Four Arts is the place to be this week. A mini-festival celebrating the composer's birthday opened Sunday with an outstanding concert of piano trios by Beethoven, and the festival will end tonight with a performance of his Triple Concerto with the Palm Beach Symphony. The featured ensemble is the remarkable Goldstein-Kaler-Peled Trio: pianist Alon Goldstein, violinist Ilya Kaler and cellist Amit Peled.
Though formed only a few years ago, the trio plays with the assurance and precision of much more established ensembles. All three musicians are respected soloists, and Kaler and Peled hold distinguished teaching positions, at DePaul University (Chicago) and Peabody Conservatory (Baltimore), respectively. Their phrasing is elegant, their attention to dynamics is scrupulous, and their approach is slightly understated.
Lush sound
The program opened with the Trio, Opus 11 in B Flat. Although originally written for piano, clarinet, and cello, Beethoven provided a violin part as an alternative to the clarinet. Its lighthearted, good nature makes it an ideal opening work. The lush sound of the cello is immediately apparent, and the pianist tossed off rapid scale passages as if they were nothing. The cello is seated facing the audience (rather than facing the violinist), and the cello tone often overwhelms the violin.
The highly dramatic "Ghost" Trio, No. 5 in D, Opus 70, No. 1, followed. The opening was taken at a brisk tempo. The dynamic range utilized by the trio is wide. The soft passages are very soft, so the loud passages do not have to be harsh in order to establish a contrast. This was a very intense movement.
The work gets its nickname from the ominous slow movement. In this dramatic movement, the piano has many tremolo passages, which are never allowed to become overpowering. Even though the tempo is slow, the dynamics keep the music moving forward. In fact, the entire movement is an exercise in tone control.
The final work on the program was the last of the trios, the so-called "Archduke" Trio, Opus 97 in B Flat. Beethoven dedicated many works to the emperor's youngest son, the Archduke Rudolf, including the Fourth and Fifth Piano Concertos, the Hammerklavier Sonata, Missa Solemnis and Grosse Fuge. The opening of the trio was tranquil, with careful attention to dynamics. The pizzicato section was especially effective. The piano was restrained, and the pianist showed strong fingers in keeping the extensive tremolos under control.

Good control
The mysterious trio section of the scherzo had barely begun when the lights in the hall and on stage went out for the first time. The players began the trio again when the lights returned. The second time that the lights went out, the players continued playing — in the dark. This should clear up any notion that chamber music players use music because they do not know the music very well. This is a powerful movement that generates a lot of momentum. Very legato piano playing marked the opening of the slow movement. Unfortunately, not only did the lights go out again, the fire alarm sounded. In the spirit of "the show must go on," the trio continued playing during the alarm. Unfortunately, about half the audience left.
The approach to the finale was aggressive — almost rough. The players played with abandon, putting lots of drive into the music. The Goldstein-Kaler-Peled Trio is a very mature, sensitive ensemble. One hopes that the members can make a sufficient commitment to chamber music to continue to grow and to continue to edify us with their performances.
- Joseph Youngblood
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<![CDATA[Goldstein-Kaler-Peled shines in all-Beethoven Palm Beach Symphony concert at Four Arts]]>Tue, 30 Jul 2013 03:22:27 GMThttp://www.tempesttrio.com/reviews1/goldstein-kaler-peled-shines-in-all-beethoven-palm-beach-symphony-concert-at-four-artsOn Dec. 16, 1770, Ludwig van Beethoven was born in Bonn, Germany. The rest, as they say, is history. Once Beethoven hit his composing stride, he changed the world with his pace. Whether during his lifetime or for the current concert season, it's impossible to think of a time when Beethoven's music didn't enjoy the highest respect.
So the Palm Beach Symphony accomplished two goals in its concert Tuesday at The Society for the Four Arts: It celebrated Beethoven's 238th birthday, while opening its 35th season.

Music Director Ray Robinson hosted a hearty party, mixing Beethoven's ever-popular Pastorale Symphony (No. 6) as centerpiece, with less-often performed works from the composer's overture and concerto genres. The guest ensemble, the admirable young Goldstein-Kaler-Peled Trio, charged into the Concerto for Violin, Cello and Piano (Triple Concerto) with unusual fervor and bite.
The Four Arts was packed to the gills: onstage and in the hall. Although the Palm Beach Symphony is a classical-size orchestra, the Gubelmann Auditorium stage can be a challenge for anything larger than a chamber group. To accommodate the guest trio, the symphony seemed to pare down even more and moved to the rear. The most noticeable effect was the loss at times of much of the orchestral sound.
On the other hand, the three guest soloists had an exceptional amount of presence. There was no phoning this one in, nothing vague or ephemeral, just great solid Beethoven. Especially the strings — cellist Amit Peled and violinist Ilya Kaler — reached out and grabbed the listener.
From its all-out push in the concerto's dynamic first movement, the trio put just as much passion in the slow second movement. Peled especially touched every nerve. He beautifully shaped the melodies while still allowing them their gentle simplicity. It was as appealing as his performance last season as soloist with the Boca Raton Symphonia.
And what a delight to hear the finale approached with good-humored playfulness. At times, the laughs turned heavy handed, even labored. It didn't help that the orchestra's rhythmic sync could have been much tighter. But pianist Alon Goldstein's crisp, impish exclamation points always captured just the right lilt and personality.
Earlier, a slow tempo robbed Beethoven's Coriolan Overture of its dramatic sense of flight. The orchestra played very well, but the overall effect was stodgy. Compared to the wooden Coriolan, the Pastorale Symphony was lyrical and focused, the pace upbeat, and some excellent French horn work could be heard.
If anything, the program needed a bit more contrast. With all three major works composed within five years of each other (1803-1808), the same general sound and feel prevailed all evening. One major break was the encore by the solo trio, a work from its all-Beethoven program on Sunday 
afternoon at the Four Arts: the slow movement of the Piano Trio, Op. 11. Full of great nuances and lyrical lines, it was a birthday tribute to Peled's father.

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<![CDATA[Trio Enhances HP Strings Opening Concert of 30th Season]]>Thu, 18 Jul 2013 21:31:47 GMThttp://www.tempesttrio.com/reviews1/trio-enhances-hp-strings-opening-concert-of-30th-seasonThe Highland Park Strings is thriving under its new music director Francesco Milioto. The ensemble gave the first concert of its 30th anniversary season Sunday, Oct. 12 in Elm Place School and showed a fresh clarity and precision that is a direct result of Milioto's exacting hand. 
To enhance the opener three guest artists, the Goldstein-Kaler-Peled Trio, took part in the concert. Violinist Ilya Kaler, the only person ever to win the Tchaikovsky, Sibelius and Paganini competitions, was soloist in "Autumn" from Vivaldi's "The Four Seasons." 
That was followed by "Hassidic Suite" written in 1946 by Ukrainian composer Joachim Stutchewsky, with an extended part for cello, played by Amit Peled. Kaler and Peled were then joined by their colleague, pianist Alon Goldstein, for the Beethoven Triple Concerto. 
The concerto is always a crowd pleaser and the Strings, augmented for this piece by wind and brass, rose to the occasion and played with special polish. The three soloists, who strained the space on the Elm Place stage, were breathtaking -- an exciting blend of experience from Kaler and youthful energy from Peled and Goldstein. 
At times it seemed as if Beethoven gave the cellist the most beautiful music and Peled's cello was glowing, with a deeply resonant quality that was spellbinding. But just then Kaler's violin began to sing so sweetly that it seemed that instrument was the composer's favorite. Until, of course, the piano began to emerge with thundering authority. 
So enraptured was the crowd with the performance that the trio played an encore -- a movement from a Mendelssohn work, which Peled dedicated to Larry Block, founder and co-principal cellist of the Strings. 
The afternoon began with something of a calling card for the Highland Park Strings -- Mozart's Divertimento in D Major, which, Block told the audience, the ensemble has played on their tours to Israel, Italy and Mexico. 
The familiarity was immediately apparent. The players dug into the piece with confidence, managing the composer's bright phrases as well as the long, sweet soothing passages with ease.
- Dorothy Andries, Evanston Review, October 14, 2008
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<![CDATA[Tempest Trio Offers Flawless, Exciting Concert at The Society of the Four Arts]]>Thu, 18 Jul 2013 21:31:36 GMThttp://www.tempesttrio.com/reviews1/tempest-trio-offers-flawless-exciting-concert-at-the-society-of-the-four-artsThe piano trio is a very interesting chamber music formation: It offers plenty of opportunities for virtuosic display by its members, although the presence of an instrument of such inflexible tuning as the piano often results in unbalanced performances.
Therefore, apart from having good ensemble coordination, members of such groups must be technically flawless in order to deliver the exciting classical and romantic piano trios in a satisfactory manner.
Flawless and exciting are two words that aptly describe The Tempest Trio in the opening concert of The Society of the Four Arts Sunday Concert Series. Pianist Alon Goldstein, violinist Ilya Kaler, and cellist Amit Peled offered a program that highlighted their individual strengths and close musical affinities.

They started with Ernest Bloch's Three Nocturnes for Piano Trio. Written in 1924, the work is a set of dark pieces, expertly written in order to exploit the strengths of each instrument. The Tempest Trio made a strong case for the nocturnes with a haunting and, at times, turbulent interpretation.
The somber mood shifted entirely in the next selection, the luminous Piano Trio in D minor, Op. 63 by Robert Schumann. Like many of his contemporaries, Schumann was daunted by Beethoven's large-form masterworks and was less convincing as a composer of sonatas and symphonies than as a miniaturist. The exceptions are his chamber works that combine piano with strings, a good example of which is the piano trio in case.In it, poetic ideas are interchanged with ease among performers, and the manipulation of sonata form is at once interesting and convincing. Once more, The Tempest Trio delivered the piece with a good balance of passion and control, even if they could have given the piano a more prominent role in the first movement.
The concert's second part was devoted to one work, Antonin Dvorák's Piano Trio No. 4 in E Minor, Op. 90. The so-called "Dumky" trio is the composer's most ambitious composition for the formation. It experiments with replacing the sonata form basis of chamber music with the folksy slow-fast dance pattern known as dumka.The result is a fragmented work in which the composer's long-arched melodies are often interrupted by passionate episodes. Surely, the "Dumky" is more difficult to listen than Dvorák's other trios, but it is certainly musically more satisfying.
The Tempest Trio's members have the right temperament to undertake such a work, and their rendition had a convincing feeling of improvisation that was nevertheless well-controlled.
MÁRCIO BEZERRA, Special to the Daily News, Monday, December 14, 2009
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<![CDATA[Winter Festival Closes its 2010 Season Sunday]]>Thu, 18 Jul 2013 21:31:26 GMThttp://www.tempesttrio.com/reviews1/winter-festival-closes-its-2010-season-sundayThis year, to celebrate the 200th anniversary of Robert Schumann’s birth, the festival programmed his three piano trios. What first-rate idea. His last trio was performed Sunday. The work was written as the composer was slowly losing his rational powers, although he had moments of genuine lucidity. This trio in G Minor (Op. 110) is from 1851, three years before his death. Other music was to be written afterwards but little has the imagination and verve of this trio. It proponents were violinist Ilya Kaler, cellist Amit Peled and pianist Alon Goldstein, who have become a piano trio, said Peled from the stage. After hearing their reading of the Schumann, it is not hard to understand they are going to join forces on a more formal basis. The three have an impressive sense of ensemble and extraordinary balance. No one dominates unnecessarily. Kaler has a rich sound with gleaming high notes. (He plays a 1735 Guarnerius del Gesu on loan from the Stradivari Society of Chicago). Peled has a big, handsome sound, surely due, in part, to his 1689 Andrea Guarneri. Even without that glorious old instrument, he would succeed. Glodstein is an incisive, articulate musician. They all have resourceful techniques and innate musicality. Together, with Schumann’s genius, they made a huge impression, one that combined ebullience and insight.
R.M. Campbell, Special to TGN on February 1, 2010
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<![CDATA[Seattle Chamber Music Society begins its Winter Festival]]>Thu, 18 Jul 2013 21:30:49 GMThttp://www.tempesttrio.com/reviews1/seattle-chamber-music-society-begins-its-winter-festivalPianist Alon Goldstein also spoke before the performance of Schumann’s Trio in D Minor for violin, cello and piano, putting it in context. Earlier, instead of the preconcert recital, he gave an illustrated lecture on Schumann whose 200th birthday is this year. Goldstein, violinist Ilya Kaler and cellist Amit Peled are performing all three of Schumann’s trios in the festival. Kaler is new to SCMS but not new to Seattle. Those who remember the International Chamber Music Festival here in the 1990s may remember him as concertmaster of the European orchestra brought here by Dmitry Sitkovetsky, and he is a frequent chamber music collaborator with Goldstein and Peled.
The sweep of the trio allows plenty of work for violin and cello but this is a pianist’s piece. The three played with intensity and passion, urgency and propulsion, with a gentle mourning feel to the slow movement, where Kaler’s warm silken tone shone, and happiness in the last. There was complete silence in the audience between movements, intent on the compelling performance.
 Philippa Kiraly on January 30, 2010

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<![CDATA[Tempest Trio's Performance Transcendent]]>Thu, 18 Jul 2013 21:30:40 GMThttp://www.tempesttrio.com/reviews1/tempest-trios-performance-transcendentThe Friends of Chamber Music of Reading opened its new season at the WCR Center for the Arts on Friday night with one of the greatest concerts I have heard in my life.
You must understand that the Friends' concerts are of impeccable quality, and wonderful music has been made in that venue over many years. But Friday's event, featuring the recently formed Tempest Trio, was something special indeed.

The trio is made up of three acclaimed soloists: violinist Ilya Kaler, a graduate of the Moscow Conservatory who is the only violinist to have won gold medals at the Tchaikovsky (1986), Sibelius (1985) and Paganini (1981) competitions; pianist Alon Goldstein (well-known to Berks audiences as a soloist with the Reading Symphony Orchestra and in recital last October at the WCR); and cellist Amit Peled, who has also appeared with the RSO, and teaches at the Peabody Conservatory.
All three have concertized and recorded extensively, and all three have strong, exciting musical personalities.
They have been compared to the legendary trio made up of the late pianist Arthur Rubenstein, violinist Jascha Heifetz and cellist Gregor Piatigorsky in the 1940s. I thought this was an exaggeration until I heard them.
While they are undoubtedly capable of anything, they seem particularly well-suited to the Romantic repertoire, as evidenced in their stunning performance of Johannes Brahms' symphonic Piano Trio in B Major, Op. 8, with which they ended the evening.
Capturing as it did Brahms' typical combination of nobility and great sorrow, grace and muscularity, their playing was quite overwhelming to hear. The sheer sensuous pleasure of their sound (aided by three magnificent instruments), along with their gift for drama, made for a transcendent experience.
The full-bodied, majestic opening movement; the breathless, galloping Scherzo; the austere but shimmering Adagio; and the sumptuous, waltzing finale were played with a profound artistry which forces me to raise the bar on all other chamber groups.
They opened the concert with Beethoven's elegant Piano Trio in B-flat Major, Op. 11, in which Goldstein's sparkling technique, producing gauzy skeins of notes in the scale passages; Peled's dark-molasses sound and passion; and Kaler's subtlety and lovely phrasing were immediately evident.
They also played the rarely heard "Three Nocturnes" by Ernest Bloch, a 20th-century composer with Romantic sensibility. They gave moving readings of the first Nocturne, with its mysterious melodies wafting up like incense; the second, a sweet lullaby; and the third, "Tempestoso," in which they earned their name with turbulent playing.

The Reading Eagle, Susan Pena, 9/17/2011
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<![CDATA[Tempest Trio Creates Electrifying Storm at Four Arts in Palm Beach]]>Thu, 18 Jul 2013 21:30:31 GMThttp://www.tempesttrio.com/reviews1/tempest-trio-creates-electrifying-storm-at-four-arts-in-palm-beach
The Tempest Trio offered an afternoon of bracing, high-wire chamber music performances Sunday afternoon at the elegant auditorium of Society of the Four Arts in Palm Beach. Pianist Alon Goldstein, violinist Ilya Kaler and cellist Amit Peled are all distinguished soloists, and collectively they ignited a musical fuse, producing refreshingly untraditional interpretations of repertoire both rare and familiar.

In the latter category Ernest Bloch’s Three Nocturnes proved a riveting opener. Written in 1924 around the same time as the composer’s classic Concerto Grosso No.1 for strings and piano, the Nocturnes abound in mercurial changes of mood and tone, spanning several stylistic crosscurrents. The quasi-Impressionism of the opening Andante is followed by a scintillating outpouring of song reminiscent of Faure. Nervous, astringent rumblings that echo Bartok and Hindemith open the final Tempestoso before a reprise of the Gallic-tinged theme of the second movement brings the work to a restrained conclusion. Generous of tone, Peled was particularly distinctive in the expressive cello solo of the second Nocturne.
A robustly assertive performance of Schumann’s Piano Trio No.1 in D minor brought the individual players’ strengths to the fore. Goldstein is an old-school bravura virtuoso with a touch of the poet. Kaler, who has extensively recorded much of the sonata and concerto repertoire, spins silken toned phrasing with seasoned collaborative skills although his sound can turn wiry under pressure. Peled is a cellist of exceptional elegance and lightness of touch in the manner of Paul Tortelier or Pierre Fournier.
The threesome brought demonic excitement to the scherzo of the Schumann trio rather than the courtly landler-like strophes of many performances. A sense of mystery pervaded the Langsam, rendered without sugary affectation. A rousing aura of triumph propelled the intensely stated finale with Goldstein pulling out all the stops in a fire breathing coda. Schumann’s 1847 opus emerged freshly minted in an exciting performance by three gifted artists who are not afraid to take interpretive risks.
An incisive, energetic reading of Dvorak’s familiar Piano Trio No. 4 in E minor (Dumky)  was alive to the rollicking Czech dance rhythms without slighting the sentiment and anguished yearning beneath the score’s gleaming surface. Peled’s aristocratic shaping of the long limbed musical line dominated the elegiac Andante moderato. Kaler played the Czech country fiddler, perhaps too much at times, to Goldstein and Peled’s classical refinement. Nevertheless it was wonderful to hear a performance that so brightly conveyed the score’s impetuous mood swings, alternately vivacious and haunting. Indeed the music seemed to leap off the page in this high-voltage rendition.
Following prolonged applause from an unusually quiet and attentive audience,  the Tempest players offered an exquisite version of the second movement of Beethoven’s Trio No.1. Goldstein’s more sensitive instincts were vividly displayed in this beautifully balanced performance, marked by gently sustained lyricism.

By Lawrence Budmen
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