I really enjoyed this set of the complete Brahms Trios from the
Smetana Trio. The first disc opens arrestingly with a strident account of
the late C minor trio, Op. 101. The level of passion runs high, but it is
impressive how capably the musicians manage to offset this with a more
delicate account of the second subject. Beneath it all remains a
fundamental strain of lyricism that is very beguiling without ever losing
Brahms' all-important focus on structure. The Scherzo even manages to
convey some of the restless yet restrained dynamism of the Scherzo of the
Second Piano Concerto, before giving way to a beautifully played slow
movement of deceptive simplicity. The agitation of the finale
modulates beautifully into the major before a gloriously affirmative
ending.
The finest of the three "conventional" trios is the middle one, whose
majestic opening has a luxurious, mahogany texture underpinned by playing of
glorious richness, retained even through the turbulent development section.
There is passion at play here too, though, and a real sense of the
players listening and responding to one another. That's particularly
apparent in the sumptuous slow movement, even in its more strident unison
passages. The scampering Scherzo and quietly ebullient finale are both
showcases in small-scale chamber playing at its best.
Going from this to the world of the early B major trio treats the
listener to samples of both the elderly and the young composer. It is
ironic, therefore, that the earliest work on the disc should be so warmly
reflective, autumnal even, where the late C minor is all passion and
headlong turbulence. It is helped by Brahms' choice of a glowing B
major for his key, allowing all the instruments to sound in their most
glorious, homely tone. There is still passion particularly in the
first movement, but it all seems to be mediated by the composer's most
lyrical tendencies and the result is played beautifully here. That
quality makes the second movement's trio particularly beautiful in contrast
with the lively outer sections, and it really comes into its own in the
glorious Adagio, a study in stillness and the beauty of simplicity.
The mood changes entirely for the finale, however, a minor-key
movement of serious musical argument which is such a contrast to the
previous movements that it seems almost as though it has been lifted from
another work. Perhaps the young Brahms thought too much tranquillity was a
bad thing!
It is a great bonus to have the horn and clarinet trios included in
this set. The first movement of the horn trio shares a similar mood to
that of the B major piano trio, warm and appealing, tinged with a hint of
melancholy. The resonant colour of Vojta's horn brings a
glorious flash of light to the sound of the violin and piano, sometimes even
soothing or offsetting the serious tone of the other instruments. The
horn was an instrument beloved of Brahms' mother, which perhaps explains the
predominantly melancholy mood. This comes over most successfully in the
Adagio, an elegiac song without words that benefits from playing of
understated beauty. However, the flashes of jollity, such as the outer
sections of the Scherzo, are played just as well and the bucolic mood of the
finale ends the trio in a surprisingly upbeat mood.
Losing the violin and keeping the cello gives the clarinet trio, the
latest work on the disc, an altogether darker hue. This, coupled with
intensely dramatic melodies, makes this a work of profound earnestness. It
is played here with seriousness that never lapses into melodrama.
Peterková knows when to make her clarinet stand out and when to
blend with the other instruments, and this knack helps to underline Brahms'
more fluid approach to structure in this work, often melding "subjects" and
creating a work where different elements seem to flow into one another in a
more organic way than is, perhaps, normal. Peterková's
cantabile quality in the slow movement is magical, though, as is the
deceptive simplicity of the
grazioso third movement. The finale
then returns to the mood of the opening movement, and ends the work in a
mood of seriousness and drama.
I admit that I don't have much experience of the Brahms trios
against which to compare the Smetana Trio, but I enjoyed their playing
immensely and more, I suspect, than did my colleague
Michael Cookson. The acoustic, by the way, serves the
music very well indeed, sounding close-up and warm with just the right level
of bloom. The notes, while brief, provide a useful introduction to the
music and illustrated biographies of the musicians.
Simon Thompson
See also review by
Michael Cookson
