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Mr. Small joined the duo for the main event, Felix Mendelssohn’s Piano Trio No. 2 in C Minor. The composer’s last published chamber work, the trio was composed in 1845 and dedicated to the violinist Louis Spohr. Of its four movements, both of the outer allegros are highly dramatic — even Beethovenian — and compositionally ambitious, each developing three distinct themes. The inner movements are more characteristic of Mendelssohn. The andante is a heartfelt song, the scherzo fleet and delicate.  Mr. Valkov’s muscular account of the tumultuous opening set the stage perfectly. Mr. Kostov’s rhythmic urgency propelled the music all the way through. Mr. Small projected an attractively sweet tone, though his interpretive caution was overshadowed by the Bulgarians’ go-for-broke intensity.  And may an atheist be permitted to say that the sanctuary at Our Lady of the Atonement is God’s gift to cellists? The sound of Mr. Kostov’s instrument coupled gloriously with the space. And the stained-glass windows are among the most beautiful in the city. 

Akiko Fujimoto Photo: Liz Garza Williams

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Detail of stained glass in Our Lady of the Atonement Catholic Church

March 3, 2015 Simple, easy-to-follow instructions for musicians: Don’t play notes; play music. Don’t play your instrument; play music. No matter who wrote the music, make it your own. No matter when the music was written, make it as immediate as your belly laugh when you hear a good joke, or your gasp when you are punched in the gut. Make every moment count. Play like there’s no tomorrow.  Example: The cellist Lachezar Kostov, who was joined by excellent colleagues Viktor Valkov (piano) and Andrew Small (violin) in a short concert March 1 in Our Lady of the Atonement Catholic Church. Mr. Kostov and Mr. Valkov,  who have been performing as a duo for some years, are natives of Bulgaria and currently are doctoral candidates at Rice University.  They opened the program with a choice offering of canapés: In the Richard Strauss song “Morgen,” Mr. Valkov wove together the orchestral and vocal parts while Mr. Kostov played the solo violin line; the results were unutterably lovely. In Frederic Chopin’s Grand splashy Duo Concertante on themes from Meyerbeer’s “Robert the Devil,” it was astonishing to hear the cello lines played with such total conviction, every note a bloom. Fritz Kreisler’s familiar “Liebesleid” danced on emphatic rhythms and natural musicality. Mr. Valkov’s sparkling virtuosity and ample power, together with Mr. Kostov’s  pointed phrasing, made for an uncommonly memorable account of Franz Liszt’s Hungarian Rhapsody No. 2, in the duo’s own arrangement. If the cellist commanded more attention with his particularly rare talent, the pianist also made a splendid impression with his seemingly limitless technique and assertive musicianship. They made a top-notch team.  Later that evening, an elite corps from the San Antonio Symphony offered three of Bach’s “Brandenburg” concerti in San Fernando Cathedral, which was filled to capacity for the occasion. Akiko Fujimoto, the orchestra’s associate conductor, led the Third (for strings and continuo harpsichord) and First (for winds, strings and continuo), and the players were on their own in the Fifth (for flute, violin and concertato harpsichord with strings).  In the Fifth, the German harpsichordist Gösta Funck brought sensuous shaping, not just brilliant technique, to the first movement’s extended keyboard solo — for many listeners, the apex of the entire set. Concertmaster Eric Gratz and principal flute Martha Long were his admirable partners, both of them honoring baroque style without pedantry. The First was notable for gorgeous playing by principal oboe Paul Lueders in the adagio and nimble, confident work by principal horn Jeff Garza and his section mate Peter Rubins in the final movement.  In the Third and First concerti, Ms. Fujimoto favored brisk tempi and a nice bounce, though the Polonaise rhythms in the finale of the First wanted more oomph.                                                                                                               Mike Greenberg

Kostov-Valkov Duo, Andrew Small; SA Symphony

Playing like there’s no tomorrow

incident light

Paul Lueders

Andrew Small, Viktor Valkov, Lachezar Kostov