Goldstein-Peled-Fiterstein Trio

"Stellar playing from start to finish" 



Alon Goldstein, piano

Amit Peled, cello

Alex Fiterstein, clarinet



NOTES: A concert of the Goldstein-Peled-Fiterstein Trio reflects both the special gift and originality of the three artists as soloists as well as their marvelous sense of ensemble and love of chamber music. They also share their Israeli roots and summers in Vermont at the Marlboro Music Festival where so many of today’s prominent artists were deeply influenced and inspired.

Performances in recent and upcoming seasons include appearances at Peoples’ Symphony Concerts in New York, Concerts International, the Brattleboro Music Center, the Carmel Music Society, Dame Myra Hess Memorial Concerts, the Schubert Club International Artist Series in St. Paul, the Saint Cloud Chamber Music Society, the Northeast Kingdom Classical Arts Series, Community Concerts at Second in Baltimore, and the Philadelphia Chamber Music Society. The New York Times praised the ensemble for displaying “the kind of spotless technique that keeps the attention focused on the score rather than the vagaries of the performance.”

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BEETHOVEN        Trio for clarinet, cello and piano in B-flat, op. 11
VERDI/LISZT         Paraphrase on Aida for solo piano
DEBUSSY             Première Rhapsodie for clarinet and piano
KOPYTMAN          "Kadish" for cello and piano
BRAHMS               Trio for clarinet, cello and piano in A minor, op. 114


BEETHOVEN        Trio for clarinet, cello and piano in B-flat, op. 11
STUCHEVSKY      Hassidic Fantasy
BRAHMS                Trio for clarinet, cello and piano in A minor, op. 114


“The balance was established quickly in Beethoven’s Trio in B flat]opening bars, in which Mr. Fiterstein’s energetic phrasing and sweet, bright clarinet tone were offset by Mr. Peled’s dark-hued cello sound and the crisp clarity of Mr. Goldstein’s piano lines. Mr. Peled rendered the lyrical theme that begins the Adagio with a dreaminess that Mr. Fiterstein and Mr. Goldstein matched as Beethoven’s even-handed scoring moved the melody among them. And they gave a vital account of the playful set of variations that end the work... Mr. Goldstein offered colorful readings of Schubert’s  appealing but slight Six German Dances (D. 820) and Ginastera’s characterful “Danzas Argentinas” (Op. 2)”  The New York Times, December 2009

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