Don't want to let too much time pass before I mention a pair of morale-boosting concerts I attended over the weekend. On Saturday, pianists Rollin Wilber and Kasia Salwinski presented another of their signature theme programs at the gemütlich Ivy Hall in Philadelphia. The subject this time out was "musical fantasies," a catch-all that covers a lot of different kinds of music. 

Kasia Salwinski and Rollin Wilber
performed a program of musical fantasies
March 24 at Ivy Hall. The program was
repeated at the Ethical Society March 25.
(In her introductory remarks, Kasia said the fantasy has been a favorite form of hers since she was a student, though, really, the word refers to a lack of form. A fantasy is something composers of bygone eras wrote when they tired of limitations imposed by the sonata, which as early as the time of Chopin had come to seem somewhat academic.) 

The program began with Schubert's F minor Fantasia for four hands and ended with Mozart's Fantasia No. 2, also in F minor, also for four hands, a delightful work, yet surprisingly substantial for something originally written for a musical clock. (That's Mozart for you.) In between, we heard Chopin's F minor Fantasy Op. 49, Mendelssohn's F-sharp minor Fantasy Op. 28, Beethoven's "Moonlight" Sonata ("quasi una fantasia," in case you've forgotten), and Brahms's Fantasien Op. 116. The Brahms, sensitively played by Salwinski, affected me particularly, perhaps because I'm feeling rather melancholy these days. (Elliott Carter used to complain about what he called "the weepy side of Brahms." This is one of those  issues on which he and I part company.) 

As always with these two top-notch pianists, the program was varied yet unified, with much to enjoy and much to think about.

Sunday afternoon, the Elysian Camerata offered still more music by Schubert and Brahms in Bala Cymwyd -- the "Rosemunde" String Quartet and the String Quintet in G Major Op. 111. The Schubert was touching, and the "Rosemunde" theme always puts a catch in my throat. The Brahms, on the other hand, was a blast to hear live and in close quarters. It's a big, dense work that, from a few feet away, in the lively acoustics of St. Asaph's Church, felt almost symphonic.

My spirits could use many more weekends like this.

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