Igor Stravinsky memorably
described Rachmaninov as ‘six-foot-six
of Russian gloom’, and that description
fits admirably, and at the same time
magnificently, with this music. It arose
out of Rachmaninov’s admiration for
Tchaikovsky. For Tchaikovsky’s only
Piano Trio, his Op. 50, had been dedicated
‘to the memory of a great artist’: Nikolai
Rubinstein. Rachmaninov gave his Trio
élégiaque of 1893
the same dedication; now the ‘great
artist’ was Tchaikovsky himself. The
young Rachmaninov was already making
his mark on Russian musical life, as
both prodigious pianist and talented
composer. The dedication of the Trio
is a reflection of the strong impression
he had made on Tchaikovsky, the composer
of the previous generation whom Rachmaninov
most admired.
The Trio is arguably
the finest achievement of Rachmaninov’s
earlier career: the period before his
breakdown following the disastrous premiere
of the First Symphony. It was preceded
by another piece of the same name and
for the same instrumental combination;
but in every way, in both scale and
conception, the earlier work is a pale
imitation of the later.
Naxos couple these
two trios in a sensible combination
that gives commercial value as well
as artistic integrity. The performers
seem ideal, and so too the recorded
sound from that favourite venue for
Naxos: Potton Hall in Suffolk. The Trio
No. 1 is a work of sensitive emotion
and admirable intellectual command,
but the music lacks the vision and with
it the truly epic commitment of the
Op. 9 Trio of 1893. The latter is still
an early work, and it is true that Rachmaninov
returned to it fourteen years later
to revise it in the light of a more
sophisticated technique. Be that as
it may, there is a complete integrity
of design and an associated command
of structure, and its every bar conveys
an eloquent immediacy of emotion.
Of course the performers
need bring their own vision to chamber
music that is built on such an ambitious
scale. This Russian trio of Grohovski,
Wulfson and Yablonski combine to achieve
eloquence of line and intensity of expression,
a performance that is founded upon techniques
of the utmost assurance. Their interpretation
is captured in an acoustic whose warmth
serves the music well. Make no mistake;
this is one of the most successful recordings
of chamber music one could wish to encounter,
and to have it available at budget price
is a cause for celebration.
Terry Barfoot
Valeri Grohovski (piano), Eduard Wulfson
(violin), Dmitri Yablonsky (cello) 
