ClevelandClassical
041211StewartBBCRev
Review
"The Magic Flute": Brownbag Series at Trinity Cathedral (April 6)
by Daniel Hathaway
No, Trinity Cathedral didn’t manage to squeeze the whole of Mozart’s opera into a 50-minute lunchtime concert, but the magic was there anyway as baroque flutist Kathie Stewart, fortepianist David Breitman and baroque cellist Steuart Pincombe presented enchanting works from the last half of the 18th century on the Brownbag Concert Series on April 6.
The concert began with Mozart’s Flute Sonata No. 3 in A, K. 12 (one of a set of violin sonatas — often played by flutists — written in London when the composer was eight years old). Next up was Carl Philipp Emmanuel Bach’s Sonata in E, Wq. 84, then Ms. Stewart took a break while Messrs. Pincombe and Breitman gave us Beethoven’s Twelve Variations on “Ein Mädchen oder ein Weibchen” (the Mozart aria from Magic Flute that gave this concert its title). After a pause for the freewill offering, the trio closed out the performance with Haydn’s Trio in G, Hob. XV:15.
All three artists are associated with the Oberlin Conservatory, where Ms. Stewart teaches baroque flute and is curator of harpsichords, Mr. Breitman is assistant professor of historical performance, and of which Mr. Pincombe is a graduate in viola da gamba and baroque cello performance. Ms. Stewart and Mr. Pincombe can frequently be seen and heard performing with Apollo’s Fire and Mr. Breitman has participated in such interesting projects as a recording of Beethoven’s 32 Sonatas by seven collaborating fortepianists.
Thus it’s no surprise that all three artists are highly accomplished performers and intimately conversant with the latest trends in early music performance practice. In the ensemble works, they formed a fluent and expressive ensemble, creating fine nuances that were visible to the eye but occasionally lost to the ear in the spacious acoustical environment of the cathedral. (The musicians were located under the tower on the altar platform, where they could be clearly seen, but a lot of their sound went straight up and stayed there. These are quiet instruments probably best heard in a small space).
When the flute writing moved into the upper register, Ms. Stewart’s role in the mix became much more prominent, and she produced a lovely, singing tone. Mr. Breitman brought a fortepiano along from Oberlin and played it with great flair, adding percussive accents to the gallant selections and providing charming musical bridges in the final Rondo of the Haydn Trio. Mr. Pincombe spent part of the concert doubling notes in the left hand of the fortepiano part, but was more of an equal partner in the Haydn. He had his moment in the spotlight in the Beethoven variations where he and Mr. Breitman formed a stylish and virtuosic duo.
Trinity’s Spring Brownbag lineup includes organ recitals, choral music, chamber works, jazz and dance. Wednesday’s performance was a lovely excursion into early music and the sizeable audience responded enthusiastically.
Still to come: Clarinet Quintets on April 13, the CSU Concert Band on April 27, the Oberlin Collegium Musicum on May 4, the Duffy Liturgical Dance Ensemble on May 11, the Kenny Davis Quartet on May 18 and Trinity Chamber Orchestra on May 25. The concerts are free (a $10 donation in the plate is suggested) and lunches are welcome or can be purchased for $5.
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