By Lawrence Budmen

The languorous strains and fiery eruptions of gypsy violins and guitars have provided inspiration for some of the greatest composers of the past three centuries. The Chameleon Series celebrated that legacy on Sunday at its final program of the season.

Two trios for violin, piano and cello formed the bookends of the intimate concert at the Leiser Opera Center. Haydnís Trio in G Major reflects the elegance of rococo classicism with a dose of Hungarian musical flavoring. The subtle interplay of Michael Klotzís incisive violin, Iris van Eckís patrician cello and Misha Dacicí s sensitive keyboard figurations was devoid of overt exhibitionism, allowing the music to speak with natural, unforced lyricism. 

Klotz brought unusual depth to the emotional contours of the Poco adagio. The Rondo allíOngarese finale received brisk, effervescent treatment from the trio with Dacic cutting loose in the gypsy interlude for some pianistic fireworks.

Dvorakís Piano Trio in e minor (Dumky) emerged freshly minted in the Chameleon threesomeís exciting and richly communicative interpretation. From the mysterious opening measures of the Lento maestoso to the robust Furiants and Czech dances, the players essayed a sense of wonder and newfound discovery in every bar. In the second movement, Van Eckís rich cello tone and breathtaking sense of the musicí s inner pulse communicated Dvorakís Bohemian nostalgia. 

After Dacicís flowing octaves of pianistic color in the Andante, a blazing rendition of the concluding Vivace dazzled with surefire bravura The musicians played with the polished ensemble and precision of a full time chamber music group. 

Dacic had a field day with Vladimir Horowitzís extravagant elaboration of Lisztís Hungarian Rhapsody No.2, encompassing the powerhouse fireworks and rollicking dance rhythms with incendiary verve. In the coda, the pianistí s hands were flying across the keyboard at rapid speed in a visual blur.

Although Romanian by birth, Georges Enescu lived in Paris for much of his professional life. His Concert Piece for viola and piano reflects the Franco-European ť lan of Saint-Saens and Chausson. Klotz, a member of the Amernet String Quartet and principal violist of the Boca Raton Symphonia, played this beautiful score with aristocratic restraint. 

Van Eck performed the rarely heard cello version of Bartokís First Rhapsody, originally composed in 1928 for legendary violinist Joseph Szigeti. T he deeper colors of the cello bring the musicís dark, brooding subtext to the fore. Van Eck mastered Bartokís high flying harmonics in a performance of intense fervor with a dashing touch of Hungarian paprika. 

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