This year, the Adagio Trio celebrated its 20th anniversary. Since its founding, its members – Virginia Symphony principal cellist Mike Daniels, flutist Kathryn Daniels and harpist Linda Grieser – have performed at countless concerts, weddings and religious services. It was not until 1997, however, that the group recorded its first CD.
Stillpoint was an immediate hit – and established for a wider audience the Trio’s trademark sound. On the surface, it was reminiscent of the Windham Hill sound – music, in other words, that is soothing, in large part because it lacks dynamic range. Listening to a Windham Hill album is akin to sitting by your living room fireplace in comfy clothes with a cup of hot chocolate or a glass of brandy. There is nothing there to challenge your heart or mind, and that is precisely the point.
As I got into Stillpoint, however, I realized its surface impressions were deceiving. The music was unobtrusive, to be sure, and as such it was quickly added to the mix of albums played in upscale pottery shops – the kind that smell of scented candles and always have a few dulcimers hanging on the wall. But I found that when I listened actively and intently, there was a spiritual depth to the Adagio’s music that was lacking on most records of this kind. I recall mentioning this to Bob Shoup, director of the Virginia Symphony chorus and Virginia Chorale, and he immediately agreed. “That’s Mike, “ he said. “Everything he plays has that kind of depth to it.”
Stillpoint quickly fell into heavy rotation in my household. I especially appreciated the group’s rendition of “Ashokan Farewell,” better known to many people as the theme to Ken Burns’ Civil War documentary. The follow-up CD, Sanctuary, was equally good, and when Winter Gift came out, it added immeasurably to our holiday gatherings that year.
The Adagio Trio’s newest album, Evensong, is every bit as good as its predecessors. Among the highlights is a rendition of “Scarborough Fair.” Contrary to a widespread misconception, it was not written by Simon and Garfunkel but is actually a Medieval English folk tune. It is, of course, difficult not to think of the popular version while listening to any rendition, and that makes recording it a bit risky. In this case, however, the Adagio brings out the pastoral qualities that are inherent in the melody while simultaneously managing to put its own distinctive stamp on the tune.
Another favorite of mine is “Panis Angelicus.” This is surely one of the most uplifting sacred songs ever written, and once again the Adagio does it justice. After an introductory passage, the cello begins the melody proper, with long but delicately phrased cello lines. When the flute enters, playing in counterpoint, it feels as if rays of light have just become visible through a stained glass window.
A Grieser original, “Heart’s Delight,” follows “Panis Angelicus,” and the harpist, who often plays a supporting role, shines front-and-center on this one. I tend to think of the Adagio as “Mike’s group,” but as this album demonstrates, the members of the trio are equals, each playing an essential role.
Also worth mentioning is “Amazing Grace.” This may be the most widely played song of the last two centuries, but I never tire of it. That said, it’s hard to play it or sing it in new ways. The Adagio does so, nevertheless, with an intro in which Daniels makes his cello sound like bagpipes.
If you’re not familiar with the Adagio’s music, go ahead and get all four – as a package, they’ll make a great Christmas gift. If you’re already a fan, add this one to the collection. You won’t be disappointed.
