Sitkovetsky Piano Trio
Alexander Sitkovetsky Violin
Wu Qian Piano
Richard Harwood Cello
All-Brahms @ Chamber Music Society of Lincoln Center
April 25, 2015
"This evening's performance marked the Chamber Music Society debut of the Sitkovetsky Trio. Although violinist Alexander Sitkovetsky has appeared with the Society before, tonight marked his first performance there with his established chamber music colleagues Richard Harwood (cello) and Wu Qian (piano). Their playing of the C-minor trio drew a well-deserved, vociferous reception from the Tully crowd."
Sitkovetsky Piano Trio at Sunset Center
March 7, 2015
"The evening's program concluded with a many-faceted performance of Dvorák's Piano Trio No. 3 in F minor, and it was a knockout performance with extreme precision and bold exciting playing by all three musicians. The Allegretto grazioso second movement with its infectious cross rhythms provided many moments of charm, the Poco adagio allowed us to hear more of the artistry of violinist Sitkovetsky and cellist Harwood, and the final Allegro con brio was Dvorák at his best."
Lyn Bronson | READ FULL REVIEW?
February 9, 2015
The Sitkovetsky Piano Trio thrilled at the concert in the Vielberth building
by Randolf Jeschek, MZ
Beethoven, Mendelssohn and Brahms are the hard core of the "classic" piano trio repertoire. But the Sitkovetsky Piano Trio, guests at the Musikverein in the Vielberth building of the University, did not play the most popular pieces of these three composers, but the more seldom played "sisters". So one heard, at the beginning of Beethoven's op.70, not the "Ghost trio" but the more down to earth E flat major trio, an animated opus that, with its full sound, extends the common image of a brooding, fierce Beethoven around a witty and playful component.
Alexander Sitkovetsky, an excellent violinist from a successful musical family and called by "The Strad" a "Star of the New Century" has, in cellist Richard Harwood and the pianist Wu Qian, two fabulous musicians at his side, with whom he harmonizes brilliantly. The Beethoven was played with energy and power, sometimes vehement, sometimes sparkling with energy, sometimes loving and tender. The strings, even in the quietest passages, always had substance of sound and the piano was always played with clarity and sparkling precision.
Even more than in the Beethoven, one started to think about a "revaluation" of the two Mendelssohn trios. The spooky beginning in the first phrase of the C minor trio, sounding like an unimportant phrase, shows a complex style of composing where it is not possible to distinguish between theme, accompaniment, motif or figuration: it already leaves the D minor trio forgotten. The performance of the three musicians is breathtaking. Sometimes they indulge themselves in unrestrained revelry but restrain themselves again in order not to overload. The quiet-flowing second movement was almost nonchalant before the scherzo, lively but always articulate, with its typical Mendelssohn fairylike motor.
The Finale, changing between tension and relaxation, opened out in to a passionate apotheosis. Brahms liked his first piano trio (op.8, 1853/54) so much that he revised it in 1889. But it still has its youthful exuberance. The Sitkovetsky Trio "sings" the first movement with restrained passion in order to hold increasing opportunities for the heart-stirring finale. It's a stroke of luck when youthful energy, maturity and a superior sense of style are combined as in this Trio. And a godsend to hear them.