Goldstein-Kaler-Peled Trio Superb—Even in the Dark

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.

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