The first two Schumann Piano Trios are an imaginative choice for
this young piano trio, in this their debut recording. The emotional range of
these two compositions, and the technical challenges on offer, furnish them
with a vehicle for the display of their talents. Also, it is pleasing for
the listener to have a new take on chamber works that have not been overly
recorded in the studio.
Formed in 2003 at the Royal Northern College of Music, the trio took
second prize in 2011 at the Melbourne International Chamber Music
Competition. They have also participated in masterclasses with Menahem
Pressler, of the famous Beaux Arts Trio, the Florestan Trio, and with
Mitsuko Uchida. The Endellion String Quartet, the Gould Piano Trio, Charles
Rosen and Alexander Melnikov, amongst others, have also had some influence
on their development. Their concert-giving activities have taken them to
Europe, USA and Australia, and they have featured in festivals both in the
UK and on the Continent.
The two piano trios featured here were composed by Schumann in 1847,
when he was thirty-seven years of age. At the time of composition, the
composer was working on his opera
Genoveva. This was put to one side
when he began work on the Trio no. 1 in May of that year. Grief and tragedy
were to be a hallmark of that fateful year with the death of his son Emil in
infancy,. in June. This was compounded by the unexpected deaths of Fanny
Mendelssohn in May and her brother Felix in November; Schumann would act as
pall-bearer at his funeral. Composition of the Trio No. 2 was begun before
the completion of its predecessor.
The Rhodes launch into the first trio with great passion. They
capture the romantic feel of the writing, but never go overboard. It is all
very measured and contained. The second movement’s dotted rhythms romp
along with rhythmic buoyancy. The trio then finds its centre of gravity in
the slow movement. All the necessary ingredients are present in this
performance. The Rhodes emphasise the pervasive stark emptiness and
melancholy. All this is assuaged in the finale which is truly played
‘mit Feuer’.
In contrast, the Trio No.2 sweeps aside the restlessness and
melancholy and is altogether much more upbeat. Schumann himself said of this
trio that
‘it makes a friendlier and more immediate
impression’. The narrative of the Rhodes’ performance is
imbued with sunshine. All in all, this is a sensitively sculpted
interpretation.
How does the recording stand up to competition? The only version of
the trios that I possessed was that by the Beaux Arts Trio, recorded in the
1970s. For many, these have been the benchmark. The Rhodes offered more
intimate performances than their forebears whose conception was grander and
larger in scale. I also felt that the Beaux Arts had these works under their
skin more. They also have the advantage of giving us Trio no. 3, which
happens to be my favourite of the three. Nevertheless, the Rhodes offer
captivating performances that will delight in their own right.
These are well-delineated performances, with clear definition around
each instrumental line. The recording venue at Champs Hill will take some
beating. With comprehensive liner-notes by Helen Wallace, this all adds up
to a very welcome issue. Compelling performances and an auspicious start to
a promising recording career.
Stephen Greenbank
