Gabriel FAURÉ (1845-1924)
Piano Trio in D minor, op. 120 [21:01]
Franz SCHUBERT (1797-1828)
Notturno in E flat major, D897 [9:27]
Johannes BRAHMS (1833-1897)
Piano Trio No. 1 in B major, op. 8 [37:18]
Trio Isimsiz
Rec. 2019, Wyastone Concert Hall, UK
RUBICON RCD1048 [67:51]
This is Trio Isimsiz’s second release; the first
from 2017 also on Rubicon, comprised Beethoven, Brahms (No. 3) and Takemitsu’s
Between Tides. It hasn’t been reviewed here, nor have I heard
any of it. Surprisingly the booklet notes tell us nothing about the
performers, a contrast to the most recent CD I reviewed, where even
the copyist got almost as many words as the music. Some Googling was
needed to find that the Trio formed in 2009 at the London Guildhall
School of Music & Drama, where the three members - Erdem Misirlioglu
(piano), Pablo Hernán Benedí (violin) and Michael Petrov (cello) - are
currently Fellows.
Their choice of works here is not particularly imaginative, given that
the Fauré, with in excess of 50 recordings, is the “unsung”
piece here. Surely there was space for a little-known work, even at
the expense of the Schubert.
I went to the Brahms first, because I know it best, and also because
I felt it would help identify their approach. Most Brahms interpretations
tend to fall into either a Classical or Romantic category - I prefer
the latter. Trio Isimsiz are certainly Classical in their approach,
with restrained emotions and dynamics. Nonetheless, it was a reading
that I quite enjoyed, and have no reservations about adding to my collection.
There were some interesting treatments, not least the opening bars of
the trio section in the Scherzo which are the most hesitant, least flowing
I’ve heard. There was a similar approach to the middle slower
section in the final Allegro, which provide an effective contrast to
the faster sections either side. Did this work? I’m not entirely
convinced, but it does make one think.
I felt that the restrained approach of the trio should work very well
in the Fauré, and it certainly did. This is one of the best versions
I have heard - elegant, atmospheric and very French - and if you love
this work, his last, you certainly owe it to yourself to give this a
listen.
So to the Schubert, and something that had been hovering in the background
as a mild annoyance in the other works came to the fore, and spoilt
for me what would otherwise have been an enjoyable listen. Perhaps it
was being a consequence of being miked too closely, but but both string
instruments sounded quite harsh in the crescendo moments, not at all
what I would think appropriate for this lovely music. There had been
hints in the Brahms and Fauré, but I tried to ignore them as I know
it is something I bang on about too much.
The sound is very upfront, leading to the aforementioned problem with
the strings at high levels. The notes are straightforward, concentrating
on musical analysis, and as I said at the start, no biographical information
at all about the players.
David Barker
