Tchaikovsky Trio Warms Afternoon

The atmosphere couldn’t have been more perfect for the first concert of the semester, “Music in the Afternoon,” presented by the Boston College Music Department. On a frosty Thursday, with the sun setting outside Gasson Hall, the music of Russia’s preeminent composer, Tchaikovsky, filled the air. “Piano Trio in A Minor” was performed by Kristina Nilsson (violin), Jan Pfeiffer (cello), and James Chubet (piano), all prominent musicians in the Boston area. They came together to recreate a fine work for the Boston College community.

The piece is subtitled, “In memory of a great artist.” This refers to the circumstances surrounding the composition, as Tchaikovsky wrote it shortly after the death of his mentor and friend, Nikolai Rubenstein. Nikolai and his brother Anton taught the younger composer in his early years at the St. Petersburg Conservatory and helped him to develop throughout his career. Nikolai in particular served as a critic for the budding artist. Tchaikovsky is generally believed to be an emotional composer, and thus it is fitting that he wrote this beautiful piece to commemorate the life of his longtime friend.
“Piano Trio in A Minor” consists of two movements. The first is the theme, which begins slowly and mournfully of Rubenstein. The peaks and valleys written into the composition could easily represent the highs and lows in any life. Even when the melody sank to a mood of absolute desolation in the lower registers, it would eventually pick up again, becoming sprightly and light. At times the music rose to extreme heights of pomp and excitement, perhaps reflecting a particularly invigorating time in life, only to slow back into a funereal dirge.

 The second movement began with 11 variations on the theme. Throughout these variations, many elements were utilized to evoke different emotions and highlight specific parts of the work as a whole. At times, the piano would play alone; at others, the violin or cello. The artists performed excellently and never faltered. The variations achieved delicacy with pizzicato interludes by the string instruments and a lovely ringing melody on piano that was reminiscent of bells. Leading up to the finale, the piece begins to slip into mourning again, becoming progressively darker and less lively.
A finale and coda end the composition. The finale begins with the same darkness evoked by the final variations. The theme is more recognizable in this section and draws one back to the original meaning of the piece. There is again a sense of the life of this “great artist.” The coda is a steady decline from an air of robust enthusiasm to one of sorrowful despair. The final notes of the piece sound exactly like those of a death march, and its conclusion is undeniably somber. Tchaikovsky’s reflection on the life of his mentor is complete.

Though it is a lovely piece through and through, Edward Hanslick may have been somewhat justified when he said, in 1899, “Tchaikovsky’s ‘Piano Trio in A Minor’ was played in Vienna for the first time; the faces of the listeners almost expressed the wish that it should be also the last time … It belongs to the category of suicidal compositions, which kill themselves by their merciless length.” The faces in Gasson 100 seemed far from pained. However, it is difficult to judge whether the little old man next to you is closing his eyes to better experience the music or to take a quick snooze. The work is long, and during the variations in particular, it is easy to lose one’s concentration. Nevertheless, it is a gripping piece overall.

The event was well-attended by students, faculty, and interested parties from outside the BC community. The vast majority of seats in Gasson 100 were filled. Resounding applause rung out at the conclusion of the performance, affirming that everyone was pleased with the experience. Robin Phillips, LSOE ’12, said, “It was a lovely way to spend an evening.” Another member of the audience, Kate Harrison, A&S ’12, remarked, “It was a beautiful piece that evoked images of Russia.” She went on to say that she could visualize the artist happily eating a piece of fish at points, and in the end she imagined a desolate, snowy Siberian plain. In fact, according to fuguemasters.com, the folk song-like theme for the variations was inspired by a happy day that Rubenstein and Tchaikovsky spent in the country being entertained by peasants.

This presentation of the work of one Russian composer drew lovers of Tchaikovsky and classical music together for an afternoon of quality entertainment. BC’s musical department will give several more performances throughout the semester, including the BC Symphony Orchestra and University Chorale. However, this event was particularly enjoyable given its small scale and wonderfully appropriate setting. Tchaikovsky’s trio was a relaxing break from the pressures of the day, and simultaneously provided an excellent cultural experience.