PARADIGM TRIO, First United Methodist Church, Wednesday.

The Paradigm Trio (Kelly Parkinson, violin; Joel Rosenberg, viola; and Jed Moss, piano) never disappoints its audiences. Along with the trio's high level of musicianship and virtuosity, the group also offers listeners a new perspective on the standard piano trio literature.

With the traditional cello replaced by a viola, the sound and texture of the music are lightened, changing the balance among the instruments. Consequently, the works in the trio's repertoire that have been transcribed are heard in a new and welcome perspective.

At this week's concert in the intimate confines of the First United Methodist Church, the trio played works by Beethoven and Brahms.

The evening opened with Beethoven's early Trio in C minor, op. 1, no. 3. Classical in structure and harmonic language, the work nevertheless has elements of the composer's later style peeking through — specifically in the abrupt contrasts in dynamics and character.

After a tentative and uneven first movement, the three musicians settled down and gave an elegant reading. Throughout the work, it was Moss who was the driving force. Through his nuanced playing, he encouraged his partners to enliven their playing and give the performance definition and depth. As a result of his gentle coaxing, the trio captured the drama and free-flowing melodicism of the piece. Particularly beautiful in expression and phrasing was the second movement's theme and variations.

After a brief intermission, Parkinson, Rosenberg and Moss returned to give a decisive and cohesive reading of Brahms' Trio in B major, op. 8.

One of the great essays in the piano-trio literature, the B major is a masterpiece in every sense of the word — from the orchestral writing to the overall structure of each of the four movements to the subtle interplay among the instruments. And the Paradigm's performance was worthy of this wonderfully crafted work, which was transcribed for viola by Rosenberg.

Right from the majestic opening of the first movement, the musicians captured the intensity of expression, the impassioned forcefulness of the themes and the restless lyricism that pervade the work.

The most sublime moment of the concert occurred during the slow movement of this trio. Here, the ensemble played with such breathtaking eloquence that the music seemed to float dreamily over the audience. This was supreme music making.

As an encore, the three played the slow movement from Brahms' second piano trio, in C major, op. 87. The reading was made notable by the richness of the group's playing. Once again, it was a remarkable display of eloquent phrasing and articulate expression.

---

E-mail: ereichel@desnews.com