Read my review for VOICE Magazine of the 2022-2023 opening recital in Santa Barbara by the Lobero Theatre Chamber Music Project on October 18, 2022

Back at last!

The Lobero Theatre Chamber Music Project, a legacy of the Santa Barbara Chamber Orchestra, sprang back to life on October 18 with a program of music for piano trio and piano quartet that was both elegant and enlightening. Heichiro Ohyama, former conductor of the Santa Barbara Chamber Orchestra functions as Artistic and Music Director of the Lobero Theatre Chamber Music Project.

As everybody knows, Ohyama can’t keep his hands off the viola, so subs as needed in that role, as he did for one of the pieces on the program last week. Violinist Benjamin Beilman serves as violinist and Musical Advisor to the Chamber Music Project.

With the assistance of colleagues, pianist Lucille Chung and cellist Edward Arron, the Lobero audience was treated to a magical interpretation of Dvorák’s Trio No. 4 in E minor, Op. 90 for Violin, Cello, and Piano “Dumky” 1890-91) and a refined performance of Faure’s Piano Quartet No. 1, in C Minor, Op. 15 (1876-79 & 1883).

Focusing listener attention throughout the evening; the bar line-busting integrity and breathtaking reflective quietude of the Dvorák, and the seminal fortitude of the Fauré, both works performed in lush, late nineteenth century style by the ensemble. Virtuoso technical execution and an essential equality of empathy between the musicians, made it all work.

Opening the program with Antonin Dvorák’s slightly quirky Piano Trio No. 4 in E minor, Op. 90, Dumky (1890-91), pianist Lucille Chung, violinist Benjamin Beilman, and cellist Edward Arron made of its six sections a marvel, not just of musical finesse and interpretive insight, but also that secret ingredient that enlightens performance, ensemble intuition. For all its flighty, folkloric friendliness, there’s something going on in this work that presages the composer’s mind-bending four-year stint as Director of the National Conservatory of Music in New York City (1892-1895).

Violinist Benjamin Beilman, firmly yet ever so delicately in charge, guided his colleagues, already acutely attuned to one another, on a bar line busting, phrase-centered journey, ensemble attacks and releases meticulously executed and stylishly honed. Time vanished in fevers of ensemble beauty and high-wire emotional attitude. The big surprise that took the performance over the top? Transformative passages of immaculate quietude.

Gabrielle Fauré’s Piano Quartet No. 1 in C minor, Op. 15 (1876-79 & 1883) was the second and last work on the program, Heiichiro Ohyama joined the others on viola. From the first bars of the opening Allegro molto moderato, ensemble playing was nicely balanced, tutti attacks and releases stunning, fluid, and subtly colored. The players gave the second movement, Scherzo-Allegro vivo its playful due.

The slow movement, Adagio, wherein so many of Fauré’s secret regrets lie hidden, was given an exquisitely painful interpretation, a tribute to the humanity of the artists and Faure’s musical messaging. The lively last movement, Allegro molto, picked up the pace appropriately, Fauré’s lively and heroic themes passing amiably between the players. After a hiatus of more than a year between Lobero Theatre Chamber Music Project events, it was gratifying to witness a full house enjoying great chamber music again in that venerable venue.

Daniel Kepl | Performing Arts Review