Joseph Jongen composed
three works for piano trio at different
periods of his long composing career
: Trio Op.10 for violin,
cello and piano (1897), Trio Op.30
for violin, viola and piano (1907) and
Deux pièces en trio Op.95
for violin, cello and piano (1931).
Some of Jongen’s early works such as
his String Quartet No.1 Op.3
(1894), the Cello Concerto Op.18
(1900) and the Piano Trio Op.10
(1987) as well as his Piano Quartet
Op.23 (1902) are rather on a
large-scale, whereas much of his later
output was to be more concise and concentrated.
Obviously the young Jongen was flexing
his muscles and determined to show that,
even at a fairly early age, he was full
master of his trade. The most remarkable
thing about these pieces is that they
are quite successful (even if his First
String Quartet is a bit too long and
rambling at times) and that they display
a formidable formal mastery. True too
to say that some of his early works
were still much indebted to Franck,
particularly in the use of cyclic form.
This is quite evident in the Piano
Trio Op.10 dedicated to the
composer’s father, in which some important
thematic material keeps re-appearing
throughout the piece, but always with
a sure sense of finality. So, most themes
from the first movement will re-appear
later in the piece, one of the most
immediately striking examples of this
is the restatement of the third theme
from the first movement (in fact a theme
curiously redolent of Rimsky-Korsakoff’s
Sheherazade) at the very
end of the second movement. The final
Deciso recapitulates most themes
while adding some new ones. Another
quite noteworthy feature of the Piano
Trio Op.10 is the emergence
of many characteristics that will later
be regarded as pure Jongen fingerprints,
among other, a liking for some simple,
diatonic material being confronted to
more chromatic elements and – most importantly
I think – a warm lyricism and an extraordinary
freshness of inspiration. This trio
is by no means a prentice work; and
this recording of an early major work
is a most welcome addition to Jongen’s
discography, and an important milestone
in our appreciation of this composer’s
output.
The Piano Trio
Op.30 was composed in 1907,
and amply demonstrates the musical progress
followed by Jongen during the intervening
years. Though still on a large scale,
the Piano Trio Op.30 (for
the fairly unusual combination of violin,
viola and piano) displays a tightly
knit argument. In his insert notes,
Jaak van Holen rightly describes the
whole work as mono-thematic, and – ultimately
– as a large-scale theme and variations.
The first movement functions as a prelude
to the main body of the piece, viz.
the central theme and variations, whereas
the final movement acts as a postlude
in which the main theme has the lion’s
share again. The variations of the central
movement are quite varied and contrasted
building to a central lively section
functioning as a brief Scherzo before
the final slow variation. The final
movement is also quite typically Jongen
in its folk-like joie de vivre
and energy. The Piano Trio Op.30
is a real masterpiece and one of the
early masterpieces in Jongen’s output.
Some time ago, I reviewed
another disc (Cyprès CYP 1638)
that also including a superb performance
of the Piano Trio Op.30
with which that of the Amsterdam-based
Erard Ensemble has now to compete. I
must say that they face the challenge
quite successfully; and their beautifully
poised reading of the trio is really
very fine. Of course, they have the
field to their own as far as the early
Piano Trio Op.10 is concerned;
and again they acquit themselves quite
well indeed. I was at first a bit worried
to read that Edward Jenning was playing
on an Erard Grand Piano of 1877 restored
by Frits Janmaat from Amsterdam; but
I must admit (and I readily do so) that
this proves quite successful in providing
for a better balance between the instruments.
So, in short, this is a disc that no
fan of Jongen’s music will want to miss.
Again, others, too, will find much to
enjoy here. I for one have just one
slight regret, i.e. that Deux
pièces en trio Op.95
have not been included. This small reservation
should not deter anyone from investigating
into this fine and welcome release.
Hubert Culot
Erard Ensemble (Casper Bleumers, violin; Arjan
Wildschut, viola; John Addison, cello; Edward
Jenning, piano) 
