NOVA CHAMBER MUSIC SERIES, Libby Gardner Concert Hall, University of Utah, March 11

Franz Schubert wrote a huge body of work in all genres. There is enough repertoire to fill several seasons’ worth of concerts so it’s essential to focus on a certain aspect of his oeuvre when planning a multi-concert series.

NOVA has been exploring Schubert’s music for several years now, and artistic director Jason Hardink has wisely decided to concentrate on works from the final years of the composer’s life. Sunday’s matinee concert was NOVA’s most recent all-Schubert program and it was a wonderful afternoon that featured two large works written towards the end of his life: the glorious Shepherd on the Rock and the expansive Piano Trio in B flat, D. 898.

Celena Shafer (Photo: Dario Acosta)

Shepherd on the Rock is one of Schubert’s most lyrically flowing songs. Its melodicism is enhanced by the addition of a clarinet to the piano and voice, and the echoing effect between the clarinet and vocal lines adds to its charm.

Soprano Celena Shafer and Utah Symphony colleagues Lee Livengood, clarinet, and Hardink, piano, gave a radiant account of this irresistible piece. It was a wonderful collaboration, with Shafer’s rich, rounded tones matched by Livengood’s fluid playing and warm sound. And with Hardink’s sensitive and understated piano playing, the three created magic.

The piano trio is a spacious work on the scale of the G major Quartet, D. 887. It develops its material slowly and thoroughly and explores all aspects of its themes. It’s quite lengthy but the music is never overworked or repetitive – something at which Schubert was a master.

Playing the trio were Stephanie Cathcart, violin, Noriko Kishi, cello, and Hardink. They were well integrated and their ensemble playing was wonderfully nuanced and balanced. They brought an expressiveness to their playing that underscored the lyrical beauty of the music.

Opening the concert were three pieces for piano four hands, played by Hardink and Kimi Kawashima: the March in G major, Children’s March, D. 928; the Fugue in E minor, D. 952; and the Duo in A minor, D. 947. Their playing was nicely articulated and executed, as well as fluid and lyrical, and underscored the delicate phrases and charm of the music.