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Beethoven, Hummel, Kurtág and Mendelssohn: The Vienna Piano Trio, Wigmore Hall, London, 14.4.2009 (GDn)

Beethoven: Piano Trio in D Op. 70 No. 1 'Ghost'
Hummel: Piano Trio in Eb Op. 93
Kurtág: Varga Bálint Ligaturája
Mendelssohn: Piano Trio No. 2 in C minor Op. 66


The Vienna Piano Trio is approaching its 20^th year on the international concert circuit. That’s not a long time in piano trio terms but is long enough to have developed a distinctive sound and interpretive approach. On the strength of this evening’s performance, their take on the core repertoire is based on a clarity of line and a precise balance and co-ordination between the players. The repertoire of Beethoven, Hummel, Kurtág and Mendelssohn displayed the best of these qualities, the Beethoven and Mendelssohn in particular demonstrating how an ensemble with this track record and skill can breathe new life into familiar works. 

The toughest challenge in Beethoven’s ‘Ghost’ trio is its largo second movement. It starts slow, almost senza tempo and pianissimo. Problems of intonation and ensemble are almost inevitable, but were redeemed here by some incredibly atmospheric playing. The matching of articulation between the instruments was also impressive, the violin and cello adapting their bowed accents, and later their pizzicati, to match the attack and decay of the piano. These are clearly players for whom the musical interactions within the piano trio grouping now come as second nature.

Hummel’s Piano Trio Op. 93 is a rarity, and with good reason. It is a tier or two above the generic Alberti-bass fare of many lesser composers of the long 18^th century, but pales into insignificance compared with the preceding Beethoven. Questions could be asked about the wisdom of programming such a work, but the performance itself quickly dispelled any such doubts, the musicianship and collective vision of these players seeking out every morsel of musical interest. There is nothing profound here, but the surface pleasures were rendered with panache and classical poise, putting them in the best possible light.

The inclusion of a recent work by György Kurtág was not as strange as it may first seem, given the composer’s long association with the Wigmore Hall. His Varga Bálint Ligaturája is typical of his style, and dating from as recently as 2007, it is reassuring for his fans that he is still going strong. It calls for an upright piano, and as the stage hands wheeled the immaculate, shiny specimen onto the stage, the thought passed my mind that the hall keeps this presentable instrument backstage at all times in readiness for visits by Kurtág and his wife for their evenings of ‘games’. All conjecture of course, and highly unlikely considering the sponsorship deal the hall has with Steinway, but a visual reminder of the senior composer’s idiosyncrasies nonetheless. Other idiosyncrasies included all instruments muted throughout, fragmented textures consisting of isolated glassy intonations and a running time of less than four minutes. The work was a retirement gift for Bálint, a long time executive at Universal Edition known for his enthusiastic support for new music. It was premiered by these players at the Musikverein in 2007 and, needless to say, their sensitivity to Kurtág’s delicate sound world meant that his music was in safe hands. The only frustration was its brevity. This has long been a Kurtág trademark, so there is no justification for feeling short changed, but many of us would have appreciated a second run through.

No such problems with the Mendelssohn Second Piano Trio, which is not as long as his first, but still comfortably fills a second half. It is a bit of a warhorse, not that you would have noticed from this performance. The players clearly enjoy every note of it, and the music plays to their strengths. The highlight was the scherzo third movement, playful and light, but also finely balanced between the instruments and phrased to create a paradoxical sense of calm amid the persistent moto perpetuo. The second movement of Schubert’s Second Piano Trio made for a long encore, but it didn’t matter, we would have happily sat through the whole piece had it been offered. An inspired performance all round by performers who can find new things to say with even the most familiar repertoire. Piano trios, particularly those from Central Europe, operate in a world dominated by living legends, but these players proved themselves worthy ambassadors, both for their medium and for the cultural heritage of their great city.

Gavin Dixon


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