The Dock Street Theatre, May 30th, 2013.
Bank of America Chamber Music Series, Program V. 1 p.m.
A muggy day, too stifling for pants — too stifling for shorts even, but they are required for entry.
Geoff Nuttall, drowning in his suit, introduces his wife, violinist Livia Sohn, and pianist Pedja Muzijevic. He makes a few jokes about classical music and everyone laughs. They’re pretty good jokes.
Nuttall gets off stage after some prodding from his wife, whom he absolutely towers over. His pants billow and blow from the breeze generated by his gangly strides. He needs a tailor.
With her eye-searing red dress and abrupt swaying and skirring, Sohn looks kind of like an inextirpable flame dancing in a strong breeze. She lunges forward towards her sheet music, lunges backwards, the hem her dress lingering behind as her body changes direction.
She violently stabs at her violin, drawing squeals and screeches and long droning purrs while Muzijevic quickly and softly sows notes from the piano’s upper register.
They’re performing Schubert’s “Fantasy in D Major,” a structurally insolent piece that vaults from manic to eloquent like — SNAP — that. The violin’s sustained weeps pervade the piano’s gentler sheets and Muzijevic’s gaze pivots along the keys.
This is as Schubert as it gets: nary a trace of a groove or swing, the two instruments like dance partners separated across a large room and doing completely different dances but somehow still simpatico.
Greg Cwik is a Goldring Arts Journalist from Syracuse University.