Secure Verdehr Trio Lacks Usual Flair

Considering three of the five pieces presented Sunday afternoon at Beckman Auditorium had been commissioned by the Verdehr Trio, one hoped for fireworks, or at least intimate insights, on this Coleman Chamber Concert. Yet the results rarely transcended comfortable security and the pieces seemed mere pleasantries.

The musicians--violinist Walter Verdehr, clarinetist Elsa Ludewig-Verdehr and pianist Gary Kirkpatrick--opened with Alan Hovhaness’ Trio, Opus 415, written for them in 1988 and entitled “Lake Samish.” The Verdehrs, who are husband and wife, added a few squeaks but generally accommodated the gentle, repetitive music with reflective simplicity.

Eastern European roots abounded here and elsewhere. Armenian composer Alexander Arutiunian provided the trio with a Suite, in 1992, in which the Finale muses with bittersweet, folk-like melody and swirls with Armenian dance rhythms. Similarly, Bartok’s “Contrasts” borrows the rhythms of the Hungarian verbunkos, which here stayed earthbound in a heavy-handed reading.

In 1985, Scottish-born Thea Musgrave gave the group “Pierrot,” assigning each instrument a character of commedia dell’arte. As they did throughout the afternoon, the three players conveyed an astute rhythmic sense and an air of erudite camaraderie, but with little flair.