Her Voice
Louise FARRENC (1804-1875)
Piano Trio No. 1, Op. 33 (1843) [34:45]
Amy Marcy Cheney BEACH (1867-1944)
Piano Trio, Op. 150 (1938) [14:48]
Rebecca CLARKE (1886-1979)
Piano Trio (1921) [22:11]
Neave Trio
rec. 2019, Potton Hall, Dunwich, Suffolk, UK
CHANDOS CHAN20139 [72:04]
This is my first encounter with the US-based Neave Trio (violinist Anna Williams, cellist Mikhail Veselov and pianist Eri Nakamura), whose recordings for the Chandos label have garnered much favourable critical acclaim. Several of their releases have been reviewed on this site (Shostakovich & Faure ~ French Moments ~ American Moments ~ Piazzolla). They first came together in 2010, and have made it their mission to explore less familiar territory. Such names as Foote, Roussel and Piazzolla are just three names I came across whilst digging for background. The focus of their latest release, titled "Her Voice", is on three pioneering female composers who, in the words of violinist Anna Williams, "broke down barriers and paved the way for future generations". These three Piano Trios offer a representation of "the composer’s unique voice and distinct style".
Louise Farrenc was born in France and counted Moscheles and Hummel amongst her teachers. She was professor of piano at the Paris Conservatoire, the only woman to hold that position in the 19th century. The E flat Piano Trio, Op. 33 is the first of two she wrote for this particular configuration. It dates from 1843, and the second, in D minor, came along the following year. Much later, in 1862, she composed a trio for piano, flute and cello. The work is cast in the classical mould of four movements - fast, slow, minuetto and fast (finale). Beethoven was certainly her role model, but the work never really reaches that elevated plain. It is, however, well-crafted and graced with an abundance of melody. It has a particularly attractive slow movement, where the instruments partake in an eloquent dialogue, each given their opportunity to ardently plead. The finale is animated and joyous, and the swish playing of the Naeves casts a fascinating spell.
Amy Beach's Piano Trio, Op. 150, is a late work dating from 1938. In fact, it was her last major work. Whilst a Brahmsian influence sits throughout, it's also flecked with a daubing of French Impressionism. The flowing, arpeggiated piano writing of the first movement is a case in point. It's also richly romantic and expansive. The second movement begins Lento espressivo, only to be interrupted by a presto section presenting some deft contrapuntal scoring. The finale's highly strung beginning opens into more sweeping melodic largesse. The nervous underpinnings, though, are never too far away.
The jewel in the crown for me is the Rebecca Clarke Piano Trio, composed in 1921 and premiered at the Wigmore Hall that same year. As those in the know are catching on to the supreme quality of her music, it’s becoming more and more performed and recorded. This Trio is no exception, with a handful of notable recordings in the Clarke discography. I got to know it via the now deleted ASV recording with Martin Roscoe and members of the Endellion Quartet. It's a remarkable work, suffused with imagination, passion and allure, where Bartókian dissonance collides with lush, impressionistic textures and advanced harmonies. I couldn't imagine it better performed than here. The Neaves play with commanding authority and rewarding depth. You certainly won't feel short-changed.
The ensemble certainly live up to their name - “Neave” is a Gaelic name meaning 'bright' and 'radiant' - in these captivating and well-recorded performances. They couldn’t have been better captured than in the splendid, sympathetic acoustic of Suffolk’s Potton Hall.
Stephen Greenbank
Previous review: Jonathan Woolf
