“Perhaps that is why music is within people: so they are not afraid, so they can be closer to one another, so they can find themselves in each other.” Marketa Prochaskova
This is the last stanza from “The Message of Music,” a poem printed on the back of the program from the Ruggieri Chamber Soloists concert on Saturday, September 11 in Silver Cultural Arts Center. This poem reflects not only all music, but specifically the power the Soloists’ music has to unite people and to bring enjoyment and comfort to audiences. The performance was filled with the musicians’ passion in their connection to music. In an evening of two piano trios, one by Franz Schubert and the other by AntonÃn Dvorák, the Ruggieri Chamber Soloists gave a strong and professional concert. John Lindsey played the violin, Linda J. Galvan played the cello, and PSU professor of music, Dr. Dan Perkins, played the piano. The group was formed in 1988, known then as the Miranda Chamber Players. According to the program, they have “toured extensively as individuals and as members of chamber groups.” The name “Ruggieri” is in reference to the Ruggieri family, who “were well-known as string instrument makers in the 17th and 18th century Italy.” Their repertoire includes “duos, trios, and piano quartets of all eras.” A performance of Franz Schubert’s Piano Trio in E-flat Major, Opus 100 was first. Schubert, and Austrian composer, lived from 1797-1828. The fast-moving scales in the piece showed the finger dexterity of the pianist. The control in dynamics and balance from the cellist was superior. However, it seemed that the violinist was out of tune through much of this piece, which detracted slightly from its overall effect. The first movement was brisk in tempo and displayed the violinist’s pizzicato technique (plucking the strings with fingers rather than stroking with the bow). This was in contrast to the second movement, which was slower and allowed more motion. A small motive seemed to be echoed between each instrument. It finished with low, quiet notes in the cello, creating suspense. The third movement was light in character, faster, and in a definitive triple meter. It was easy to picture women in Victorian dresses dancing to this waltz-like movement. The downbeats were clear and strong, and the performers’ breathing allowed their cut-offs to be together. The fourth movement had some particularly fast passages, which made it exciting to watch. The cellist, by now, had broken some bow strings, which some may consider to be the sign of a good cellist. AntonÃn Dvorák’s Piano Trio in E minor, Opus 90 “Dumky” made up the second half of the performance. Dvorák, a Czech composer, lived from 1841-1904. He composed this piece after a trip to Russia in 1891. According to the score, “Dumky” is a Ukrainian word for a pensive, melancholic mood. The first movement began slowly and pensively, but alternated with a more upbeat, lively tempo and ended suddenly. The second movement was thoughtful and almost sorrowful, with a low, sustained cello note through part of the movement. It was easy to imagine someone walking through the rainy streets of Russia. The mood of the person seemed to change as his thoughts were uncovered, and it ended in a faster tempo. The third movement contained a simple, monophonic (melodic) piano line in the beginning. The violinist displayed his higher range as the movement continued. It ended faster with two pizzicato notes in the violin. Again, they painted a picture of the wandering journey of a person in Russia. One can only imagine what Dvorák must have seen in his trip that would have prompted such a composition. The fourth movement heightened the piece by some sections of growing intensity. The fifth movement contained a fast repeated passage in the cello line, as well as another passage, which again displayed the higher range of the violin. A part of the sixth movement sounded reminiscent of a Russian dance; its sharp, crisp pattern began in the piano and moved to the strings. After another slower section, the ending grew in volume and pace. Chamber soloists have a challenge that is different from other performers. It is imperative that they watch what the others feel in tempo and dynamic changes. This group has a great balance between the instruments and usually can keep together in endings and tempo changes. Their dynamic contrasts are excellent and their form is relaxed, yet cleanly performed. These musicians are to be admired for their precision, their professional manner, and for the sensation their music can give listeners. Although the final movement of the evening was not quite the typically bold closing of the Soloists (perhaps done intentionally), the concert was certainly a treat and was relished by the few who attended. They are a group that excellently displays the genuine emotions, contrasts, and unity music can have.