Last night's installment in the ongoing second anniversary celebration of the Terrace Theater was a romanticist's dream. The Eastman Trio, a relatively new group comprised of faculty members at the Eastman School of Music, presented selections that spanned the spectrum of romantic styles. And though the profusely lyric melodies which followed one another with such regularity might easily have become bland or even tedious, the players demonstrated a valuable knack for maintaining spontaneity.
Glinka's slender "Trio pathetique" does not quite match its title the way Tchaikovsky's Sixth Symphony does, but if the pathos is not always convincing, there is a good deal of admirable material in it. One of its more striking features is the delicate piano part full of whispery flurries in the right hand, and it was beautifully realized by Barry Snyder. His sensitive touch made the perfect accompaniment to the singing tones of violinist Zvi Zeitlin and cellist Robert Sylvester, especially in the Largo.
The D-Minor Trio by one of Glinka's minor successors, Anton Arensky, received an elegant treatment, the strings producing uncommonly sweet tones in the Elegia. The three musicians produced remarkably cohesive phrasing throughout Bloch's Three Nocturnes, poignant miniatures perfectly suited to the stillness of the Terrace.
The familiar Brahms B-Major Trio closed the program, and although the strings forced some of the more dramatic passages, losing their pitch when they could least afford to, the urgency they brought to the two allegros was quite compelling. The slow movement inspired the most impressive playing, infused with that special tenderness and intense introspection which give the romantic style its lasting attractiveness.