{shortcode-49de5f271eacc2ddae32b4462c24b00e312a02c0}As the Saturday morning sun streamed through the stained glass windows of the historic Arlington Street Church, the four members of the Boston Chamber Music Society presented a beautiful rendition of “Piano Quartet in G minor” by W. A. Mozart and “Piano Trio in A minor” by Maurice Ravel. Violist Marcus Thompson, cellist Clancy Newman, violinist Ayano Ninomiya ’01, and pianist Max Levinson ’93 shined in a masterful display of contrast: Ravel’s trio, heavily influenced by Basque folk music, served as a counterpoint to Mozart’s refined Classical style.

The program began with the dark and trembling chords of “Piano Quartet in G minor,” a piece arranged for violin, viola, cello, and accompanied by a piano. The quartet exhibited a lovely range of color with the dark and heavy material in the first movement, the peaceful and tranquil passages in the second, and the joyous and playful themes of the third. The quartet played with skill and precision, undaunted by the speed and complexity required by such a work.

Throughout the concert, the piano formed the central focus of the music. the Mozart piece was characterized by the running sixteenth note motifs that carried across all three movements: “Allegro,” “Andante,” and the “Rondo” finale. Levinson showed remarkable dexterity in a particularly challenging Mozart composition. The performance of the “Quartet in G minor” was a charming yet ultimately somber demonstration of musicianship that examined the breadth and depth of emotion in Mozart’s work.

The arrangement of musicians shifted here to a piano trio, creating an even more intimate feel for an absolutely beautiful rendition of Ravel. The first movement, “Modéré,” flowed like a dream. There was an occasional moment of tension that rose and fell, but always returned back to its blissful theme. The second movement, “Pantoum,” was a lively and almost chaotic scherzo. Flowing legato passages were contrasted with frantic sections rife with pizzicato from the strings and tense chords from the piano.

The third movement, “Passacaille,” brought a moment of unexpected relief with a somber theme that was passed from instrument to instrument. This section was simply constructed, yet deeply emotional. Each performer placed their own passionate interpretation on the theme, which has strong Basque folk roots. The simplicity of the music and the tenderness with which the material was treated by the trio made it the finest part of the performance.

The final movement was particularly challenging, but the performers skillfully brought Ravel’s gift of orchestration to life. The concert came to a rousing conclusion with the final triumphant chords of the “Final: Animé” movement.

The concert at its heart was a performance of contrasts. As the pieces were written close to 150 years apart, the composers belonged to very different musical eras. The Mozart quartet, with its boisterous and memorable themes, grabbed the attention of the audience and didn’t let go. The Ravel, meanwhile, was a more introspective piece that emphasized its musical textures.

The contrast existed not only within each individual piece, but also across the entire performance. In both works, the respective movements contrasted with each other, conveying everything from terror to bliss to freedom. However, the greater juxtaposition is Mozart against Ravel. Mozart's staunchly classical style is tight and controlled, which made for an organized yet demanding and precise interpretation. Ravel, on the other hand, is more unpredictable, and the performers used every opportunity to showcase their individualized interpretations. The styles were separate and distinctive, yet equally impressive.

The emphasis on the differences, rather than the similarities, made for a refreshing program.

However, in both the Mozart and Ravel pieces, the audience enjoyed a deft conversation amongst the strings voices and piano, elevating the works of musical masters to magnificence with a beautiful execution.