“The master trio of the present era, just as, in their times, were the B flat and D major trios of Beethoven, and that of Schubert in E flat. It is a beautiful composition that years from now will delight our grandchildren and great-grandchildren.”
Such was the manner in which Robert Schumann described Mendelssohn's Piano Trio in D minor Op. 49.
His words still ring true, as the work remains an important warhorse of the chamber music repertoire.
Along with the equally weighty C-minor Piano Trio Op. 66, Mendelssohn's two contributions to the medium present a plethora of challenges and opportunities to all musicians who tackle them.
In the members of the Nash Ensemble, these challenges and opportunities were entrusted to some of the best in the business. They did not disappoint.
The opening of the D-minor trio is similar to that of Arensky's Piano Trio of the same key, a work that the Nash Ensemble recorded twenty-four years ago with Ian Brown at the keyboard (CRD 3409). Brown captures the same kind of brooding intensity that he did more than two decades ago, providing a menacing yet sensitive background for the string melody. It is clear from their initial entries that violinist Marianne Thorsen and 'cellist Paul Watkins possess a genuine affection for every note, regardless of its role in the music. The second subject of the first movement exuded this sense of fondness, as Watkins' sublimely crafted melody is almost enveloped by Thorsen's warm, resonant suspended fourths. Such an understanding of the music – and of one another – is what makes chamber music so thrilling, and there are many instances of such mutual sympathy on this disc. While the middle movements more than satisfy, the Finale is especially gripping, as throughout one senses a pent up energy and emotion that is ultimately released when the music finally arrives triumphantly in D major.
The many positive traits from this account carry over into that of the fiery C-minor trio, in which all three artists remain on top form. The Allegro first movement is certainly played with the “energico e con fuoco” specified by the composer as the Nash Ensemble provides a vigorous performance. Interestingly, Brown's serene melodic lines, such as the solo that begins the Andante espressivo, have a greater singing quality than was present in the previous trio (the beginning of the slow movement in the D minor is a little wanting in terms of tone quality and musical direction). The Scherzo is conveyed in all its brilliance, as Brown delivers Mendelssohn's concerto-like piano part with consummate ease. The performance of Finale tugs at all heartstrings, from the sinister opening theme, through the solemn, noble chorale at the movement's epicentre (aided in large part by Thorsen's soaring violin melody), to the music's final “liberation” into C major.
While many recording artists and record labels would be content these two works as a "full" CD programme, the Nash Ensemble and Nash Ensemble Classics generously included a delightful filler in the shape of Mendelssohn's Variations Concertantes Op. 17 for 'cello and piano. None of the togetherness that permeates the Trios is lost here, as Watkins and Brown provide a laudable performance of this underrated work.
Sound engineer Chris Craker has done an admirable job with the balance of both the Piano Trios and the Variations, ensuring that all three instruments command a standing of equal importance with one another. Brown's virtuoso accompanimental passages always compliment the melodic lines in the strings, and are neither overbearing nor obviously toned down in order to fit underneath Thorsen and Watkins. Particularly impressive were the lower registers of the 'cello, the inviting character of which was constant regardless of dynamic level.
The fastidious listener may well pick up on one or two minor foibles in the performances on this disc. The ending of the Scherzo in the D-minor trio does not sparkle as much one might expect. Though this is partially down to the nature of recorded music, the desperately low audibility of the witty pizzicato notes at the movement's end is also to blame. Indeed, it could be argued that much of the plucked-string timbre in this recording was somewhat underplayed (one such instance being the pizzicato 'cello at return of the principal theme in the slow movement of the D minor). Furthermore, the Finale of the C minor begins rather disjointedly, with Watkins and Brown needing two full bars before their "tempi" become a "tempo" (a process not aided by Watkins' overemphasis of the opening minor ninth).
However, these are negligible matters on what is otherwise a highly enjoyable disc. Accompanied by Joanna Wyld's concise yet informative booklet notes, this recording is a resounding success in nearly every regard. Be sure to make it the latest addition to your record collection.
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