United States Various: Chamber Music Society of Lincoln Center. Harris Theater, Chicago, 25.3.2025. (ZC)
W. F. Bach – Fugue in F minor
Mozart – Adagio and Fugue in C minor; Piano Quartet No.2 in E-flat major
Schubert – Piano Quintet in A major, ‘Trout’
Chicago’s classical music scene is undeniably shaped by the towering presence of the Lyric Opera and the Chicago Symphony, institutions that draw crowds with their scale and prestige. Against this backdrop, the Chamber Music Society of Lincoln Center’s series at the Harris Theater stands out as a quieter, yet equally vital, counterpoint – offering an intimate alternative that felt both rare and refreshing in a city where chamber music is not the first thing on most concertgoers’ minds. The performance by the CMS drove that point home, showcasing the unique appeal of small-ensemble playing in an intelligent program of Schubert, Mozart and Wilhelm Friedemann Bach.
Before the music began, co-artistic director Wu Han stepped out to greet the audience and struck a relatable note by admitting she had heard that some subscribers chose to spend the evening at the Lyric Opera’s La bohème instead. With a wry smile, she turned the moment into a pivot to the future, announcing the dates for next season. Co-director David Finkel will announce next season’s program at CMS’s final Chicago concert in April.
This particular program was five years in the making. Wu Han explained that she had wanted to perform Mozart’s Piano Quartet No.2 once the pandemic ended, and this concert marked that moment. She paired it with Schubert’s ‘Trout’ Quintet, a ‘party piece’ known for its good humor and unusual instrumental lineup. But to open the evening, she chose two concise string fugues: W. F. Bach’s Fugue in F minor, arranged by Mozart, and Mozart’s Adagio and Fugue in C minor. Together, they clocked in at just ten minutes but set the tone by highlighting individual instrumental voices – a core element of chamber music.
The opening fugues might have seemed like minor preludes to the bigger Mozart and Schubert works, but they proved their worth. Wu Han, in a Playbill Q&A, said that hearing how the different musical voices in a fugue interact can teach you how to listen to chamber music – tracking both the horizontal lines and the vertical harmony. The W. F. Bach fugue, played by violist Paul Neubauer, violinist Arnaud Sussman and cellist Sterling Elliott, was a delight, its four minutes woven together seamlessly by the musicians. Mozart’s Adagio and Fugue, with its rougher, modern edge, hit harder. The fugue itself was more ferocious than academic, with Neubauer, Sussman, violinist Julian Rhee and double bassist Anthony Manzo delivering its shadowy accents with precision and emphasizing the work’s jagged contours.
Mozart’s Piano Quartet No.2 is a cornerstone of the form he helped define, with the piano emerging as a distinct voice in the ensemble. Compared to his darker G minor quartet, the E-flat major is brighter and more approachable. Wu Han’s playing imbued it with a concerto-like energy while staying balanced with the strings. The piece thrives on this interplay – her piano would introduce a theme, and the strings, led by Neubauer’s warm, flexible tone, would answer. In the Larghetto movement, the piano took center stage with a tender melody that hung in the air, while the strings responded with a velvety blend. The ensemble’s chemistry gave the piece a spontaneous, conversational quality that set an uplifting tone heading into intermission.
Schubert’s ‘Trout’ Quintet, performed in the second half, is a natural companion to the Mozart. Its unique instrumentation – no second violin, but a double bass – gives the piece a rich, almost orchestral texture. The five movements alternate fast and slow, with rhythms that evoke dance.
The fourth movement, based on Schubert’s song ‘Die Forelle’ (‘The Trout’), was especially effective. The ensemble played the theme and its variations with a balance of lightness and melancholy. Wu Han, Rhee, Neubauer and Manzo brought the movement to life, letting the tune twist through variations. Wu Han’s touch was both nimble and fluid, guiding the ensemble through the variations with natural ease. Notably, there was a touch of sadness in the downward shifts of the melody, revealing a melancholy I had not noticed before. The musicians balanced this darkness with the piece’s inherent lightness, making it a highlight of the night.
Zach Carstensen