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 second release from Trio Isimsiz follows an interesting Rubicon collection. That 2017 CD contained Beethoven’s challenging “Ghost” Trio, Brahms’ 3rd Trio and, very adventurously, Takemitsu’s “Between Tides”. That earlier disc has not been reviewed here, but I do hope that I may get the opportunity to hear it soon. Trio Isimsiz (Isimsiz means 'anonymous' in Turkish) was formed in 2009 at the Guildhall School of Music & Drama. These three young musicians, now Fellows, are Erdem Misirlioglu (piano), Pablo Hernán Benedí (violin) and Michael Petrov (cello). They were originally unknown to each other but have gone from strength to strength. Perhaps the “anonymous” nature of the group is why, as David Barker pointed out, that there are no details of the Trio in the booklet which emphasises the importance of the music rather than the performers. This is to be commended. Nevertheless, like David, I think such information should be an essential part of the booklet. Hearing the first movement of the marvellous Brahms trio on BBC Radio 3’s “Record Review” on 26 December 2010 reinforced my anticipation of this recital.
I first got to know Schubert’s delightful “Notturno” in a fine introductory performance by The Stuttgart Piano Trio. This was coupled with D929 on Naxos. Later, I greatly enjoyed The Beaux Arts Trio on Philips and the rather less known Jean-Philippe Collard (piano), Augustin Dumay (violin), Frédéric Lodéon (cello ). This I have in a great 50 CD boxed set under the title “Schubert Collector’s Edition” (EMI). A year ago, I had the great pleasure of reviewing Trio Hamlet’s recording of the “Notturno” as a fine coupling to Piano Trio No.2 D929. on Channel Classics (review). It is generally believed originally to have been written as a movement of the optimistic Piano Trio in B flat major, D898. It was discovered by Anton Diabelli, of ‘Variations’ fame, in 1844, after having been discarded like so many of Schubert’s non-vocal compositions. I’ve always loved the piece for its tranquil, sombre melancholy which the Trio Hamlet brought out very successfully, a dark feeling similar to that radiated by
the much more famous String Quintet D956. Trio Isimsiz play with skill and empathy but I find them a little “fussy” and they don’t let the superb melody speak for itself. In the mid-movement crescendo, I’d concur with David Barker’s observation that there is something not quite right with the stringed instruments; they sound just a little harsh. To be fair, this is judging by very high standards, However, when reviewing a CD, we know there will be repetition and this can induce irritation.
The performance of the Fauré trio is perfectly pleasant but it fails, in the final analysis, to grab my full attention. It’s played proficiently but falls short
of the finest performances. As well as the Beaux Arts recording, I recently acquired a fine bargain box of Fauré’s orchestral, choral, chamber and piano works on Warner. There the Trio is performed by the same French trio as in the Schubert, led by Jean-Philippe Collard. The 12 CD box which covers a great measure of Fauré’s works. Also it is attractively packaged with reproductions of the LPs’ original sleeves. It retails for around £18 and will appeal to those wanting to explore Fauré’s compositions deeper.
With the Isimsiz there was a real feeling of relief when I heard the resplendent opening bars of the Brahms Trio in its 1889 incarnation. The players have a true feeling for this work and this made me want to listen to their earlier CD which contains Brahms’ Op.101. Maybe they’ll be tempted to record Piano Trio No.2, Op.87, which dates from earlier (1882) in the decade that saw the revision of No.1. There is a symphonic stride to the first movement and the Trio Isimsiz give an inspired performance.
I have a fair few recordings of the Brahms Piano Trio with the two Beaux Arts Trio
recordings, the Florestan on Hyperion, and there’s also the legendary combination of Julius Katchen (piano), Josef Suk (violin) and Janos Starker (cello) which was recorded just over 50 years ago by Decca. I happily add the Isimsiz to this roll-call. It was the sublime, Schubert-inspired (the notes refer to Beethoven) Scherzo: Allegro molto that I heard on Radio 3. Hearing the present CD echoed my initial very positive response. The recording engineers do a splendid job in capturing the Trio in Wyastone Hall. It’s important to remember that whilst Brahms rewrote his composition (written when he was just 20), 35 years later, he didn’t withdraw the original version but left them both available for ensembles. Brahms made several changes in the heavenly Adagio; what Philip Borg-Wheeler in his excellent notes describes as an “agitated episode” was removed. This only makes me want to refer back to the 1854 original.
“Anxiously” is how the opening of the Finale begins and those of us who love Brahmsian angst will find this familiar before a more joyful ending. Just once or twice in this movement the harshness of the strings lurks but this certainly didn’t diminish my enjoyment of a performance that ended this mixed recital.
Competition is very strong in this repertoire but it would be a shame if this fine CD failed to get the recognition it deserves. The Brahms is very fine and I hope to hear their Op.87 soon. Perhaps they will record the second trio before long. It will definitely be worth the wait.
David R Dunsmore
Previous review: David Barker
