Press:
Intersection Trio revitalizes art form
By DAVID SCKOLNIK
From the moment they appeared on the Packard Hall stage for second offering in the Colorado College Summer Music Festival’s pre-season “Intermezzo” series, everyone knew this was going to be a very special evening.
On Wednesday, the Intersection Trio was expected to bring a pops mentality to the formal traditions of chamber music. Anchored on the piano by the festival’s John Novacek, we knew that the trio’s violinist, Laura Frautschi, and cellist, Kristina Reiko Cooper, had superb musical credentials.
Even still, the revealing gowns worn by Frautschi (in fuchsia) and Cooper (in tangerine) evoked oohs and aahs from the audience. They also wore very high-healed strappy sandals to complete the portrait. In stark contrast, Novacek was attired in a suit and tie with a drab color palette.
Though the performance would run almost two hours, the trio never used music or stands. While an impressive intellectual feat, this choice was really about one thing: breaking down the barrier that normally exists between performer and listener. And as they burst into music with a Falla Spanish dance, that barrier seemingly burst into flames itself.
Intersection has forged a winning formula. Frautschi stays cool and detached, although her playing is as passionate as it is accurate. Novacek hardly looks at his keyboard while whipping off stupendous technical feats, his head usually turned to his musical mates and the audience. Cooper redefines the classical music experience. She confronts the audience with a presence and a sensuality that perfectly matches the moment of the music. The sultry melody is an opportunity for mass seduction.
Further intimacy was gained by the conversations they had with the audience about their ensemble and the next piece to be performed. Cooper’s story of her legendary Japanese grandfather, Tomojiro Ikenouchi, assured that her beautiful performance of his “Ballade for Cello and Piano on an Ancient Japanese Air” was received with extra empathy. The trio felt like more than a visiting act; they felt like a part of our lives.
Ten pieces constituted the concert (a conventional trio performance would likely have three). I had a theory. With a performance of such high quality and universally appealing music, I expected and found a dramatic split in the audience favorites. Some chose the opening Spanish dance. One person was moved by the finale from a Beethoven violin sonata. The most frequently sited piece was Cooper’s reading of her grandfather’s work. She also gained extra admirers by bringing to life the sensuality of “Carmen” from behind the cello in a suite from Bizet’s opera. I had some trouble accepting the condensation of the “Infernal Dance” from Stravinsky’s “Firebird,” but this was first choice for a few.
After intermission, my favorite was presented: a poignant arrangement of an Astor Piazzolla tango. This perfectly suited the style and aura of the trio. There was even comedy. Many loved Novacek’s irreverent accompaniment to Vittorio Monti’s passionate Csárdás. The pianist humorously infected the music with snipets from about a dozen unrelated pieces.
The only “major” work of the evening came courtesy of George Gershwin and a brilliant arrangement of his “Rhapsody in Blue” by Novacek. Knowing his mates well, he made sure that each had solo moments that ideally suited their personality and technical abilities. It was met by a rousing standing ovation and naturally was “best in show” for many.
Intersection trio plays with verve at Flagler Museum
By JOSEPH YOUNGBLOOD
Dazzling! is the first word that comes to mind upon experiencing a performance by Intersection. These three young musicians — violinist Laura Frautschi, cellist Kristina Reiko Cooper, and pianist John Novacek — enthralled the audience Tuesday evening at the Flagler Museum.
Intersection is a piano trio, but its concerts are unlike any that I have heard by other like ensembles. Accessible appears to be the key word in their program building. Traditional piano trio repertoire is present, but those works are balanced by compositions that are lighter, shorter, and readily understood and enjoyed. Besides trios, the programs also included duos and solo works.
The major work on this program was Trio No. 2 in C Minor, Op. 66 by Felix Mendelssohn (1809-1847). It was preceded by Salut d’Amour by Edward Elgar (1857-1934), and followed by Je te veux by Erik Satie (1866-1925), Introduction et Tarantelle, Op. 43 by Pablo de Sarasate (1844-1908), Grand Valse Brillante, Op. 34, No. 2 by Frédéric Chopin (1810-1849), Requiebros by Gaspar Cassadó (1897-1966), and Carmen Suite by Georges Bizet (1838-1875), arranged by Satoh.
The members of Intersection play with exuberance and verve. Their dynamic range is broad, and changes in dynamics are instantaneous yet natural sounding. The overall tone is full and unbridled. There is in their playing drama and excitement, but there is also joy, a love of music and a love of playing together. They are giving a concert, but they are also having fun.
Salut d’Amour is a short, very lovely piece. The players phrased it lovingly, and the piano was nicely shaded.
The Mendelssohn trio is a large, diverse work. We notice that each player is in full control of his instrument, able to execute the subtle phrasing and the carefully worked out dynamics. The broad first movement was so dramatic and moving that many members of the audience applauded. Close communication and tight balance characterized the andante, which is similar in nature to Mendelssohn’s Songs Without Words. The scherzo, was taken very fast, yet the players were smiling and enjoying themselves. The finale was big in scope, with excitement building to the end.
All of the pieces on the second half of the program were played from memory. Je te veux (“I want you”) is a lilting waltz with precision phrasing. Introduction et Tarantelle was a duo of violin and piano. Frautschi’s warm tone and clean technique were apparent here, with the blinding speed and the many high- level violin effects. The Chopin waltz was a piano solo that Novacek played rather straight-forward, with only a touch of sentimentality. Requiebros (the name is derived from the verb requiebrar, to woo) was for cello and piano, and showed off Cooper’s beautiful tone and brilliant technique. The music of Carmen Suite is derived from Bizet’s popular opera. This clearly exemplifies music that is easily understood and enjoyed.
The encore was Intoxication, a rag by pianist John Novacek. This lightning fast piece was notable for its remarkable ensemble.
Intersection is highly artistic in its playing and thoughtful in its programming. This combination produced an exhilarating, challenging and satisfying concert.
I have rarely heard anything like it.
Critic Joseph Youngblood: Trio at Four Arts, Intersection at Flagler dazzle concertgoers
By JOSEPH YOUNGBLOOD
Though I heard many excellent concerts this season, two stand out in my memory.
The concert by Intersection — violinist Laura Frautschi, cellist Kristina Reiko Cooper and pianist John Novacek — covered a wide range of music of varying character and instrumentation. Most notable was Felix Mendelssohn’s Trio No. 2 in C Minor, Opus 66. But in a gesture that harked to earlier program formats, there also was a work for violin and piano (Introduction et Tarantelle, Opus 43 by Pablo de Sarasate), a work for cello and piano (Requiebros by Gaspar Cassadu) and a work for solo piano (Grand Valse Brillante, Opus 34, No. 2 by Frédéric Chopin.) Everything was played with exuberance and intimacy, the players listening carefully to one another. The players clearly feel joy while playing, and that joy is communicated to the audience.
Intersections at The Windham Chamber Music Festival
by Liz Friedman—-So far this month, our usually fruitful region has not offered a whole lot in the way of classical live performance in order to tout and celebrate National Chamber Music Month. The jazz folks have been busy, but …well … we’ll get into that another time soon. Quite truthfully, this May has been a bit of a bummer for this chamber music fan. However, thank goodness, this weekend is an exception … BAM!
In fact there is plenty of chamber music, enough that some may have some difficult choices to make. Concerts at Tannery Pond is offering the Dover String Quartet (remember them from their sweep at the 2013 Banff International String Quartet Competition?). Capital Chamber Artists is performing at Westminster Presbyterian Church in Albany, the Berkshire Bach Society is off on the adventures of the Great Quintet Caper, pianist Michael Clement delves into Beethoven with his fellow performers, and the Intersection Trio provides a journey through interesting choices and pairings of repertoire for the small ensemble in Windham. It’s this last concert that is of particular interest to me as I think it’s representative of our evolving chamber music continuum.
The Windham Chamber Music Festival has chosen to launch it’s four-concert summer season with the Intersection Trio (violinist Laura Frautschi, cellist Kristina Reiko Cooper, and pianist and composer John Novacek). Individually, the players have achieved enviable successes as solists and chamber musicians in the world of classical music, but each have effectively ventured beyond circumscribed artistic borders, exploring new music, world music, jazz and pop. They are not only virtuosic players, but tap into each of their varied backgrounds to explore and create playful blends of music that intrigues and thrives within the setting of the small ensemble. Not all serious concert music, yet seriously played and well presented. And respectful to and balanced with the more “traditional” programming, thus … dare I use a current buzz word … “accessible” to a diverse group of people whether it be age or cultural background.
In corresponding with Windham Chamber Music Festival founders Robert Manno and Magdalena Golczewski, it is the Trio’s programming along with their engaging and personable stage manner that seems to have attracted and driven their choice for the opening of their summer season. It sounds fun, informative, and engaging. I hope you get to go!
The Intersection Trio’s program is to include:
Kenji Bunch — Intersections
Claude Debussy — Clair de lune
Tomojirō Ikenouchi — Ballade sur un Air Japonais Ancien
Dmitri Shostakovich — Allegro con brio (from Piano Trio No. 2, Op. 67)
Georges Bizet — Carmen Suite (arr. Satoh)
Gabriel Fauré — Impromptu No. 5 in F sharp minor, Op. 102
Jules Massenet — Meditation (from Thaïs)
John Novacek — Intoxication Rag
Henry Mancini — Moon River (from Breakfast at Tiffany’s) (arr. Bunch)
George Gershwin — Rhapsody in Blue (arr. Novacek)