Elegiac Stories
Josef SUK (1874-1935)
Elegy for Piano Trio, Op.23 [5:27]
Bedřich SMETANA (1824-1884)
Piano Trio in g minor, Op.15 [27:01]
Sylvie BODOROVÁ (b.1954)
Prefigurations (Piano Trio) [8:45]
Gustav MAHLER (1860-1911)
Piano Quartet in a minor [11:55]
Sketch for a Scherzo Movement [1:20]
Eben Trio (Terzie Fialová (piano), Roman Patočka (violin), Markéta
Kubínová Vrbková (cello)) guest: Kristina Fialová
(viola) on Mahler works
rec. Martinů Hall, Lichtenstein Palace, Prague, (Academy of Performing
Arts, Prague) Czech Republic, March 2012
ARCODIVA UP 0143 2 211 [54:56]
I would describe myself as a happy person yet the music I find I’m
invariably drawn to is that which is serious even sombre. This mood taps into
my soul more directly and helps me reflect on things more effectively. The
mere title of this disc appealed to me straightaway.
Josef Suk’s Elegy for Piano Trio started out as a work written
for violin, cello, string quartet, harmonium and harp. It was composed to
mark the first anniversary of the death of writer, dramatist and poet Julius
Zeyer (1841-1901). The arrangement heard here for piano trio is more effective
with the achingly beautiful tune coming out in a more undiluted fashion which
makes the clean lines so much more telling. Someone wrote that if one had
identified Suk’s music as being by Dvořák then one would
be as close to being right while still being wrong. The music of Suk who was
Dvořák’s son-in-law was so very similar, occupying the same
central European romantic soundscape.
Smetana poured his feelings of anguish into his piano trio; anguish caused
by the death firstly from tuberculosis then scarlet fever of two of his four
young daughters in one year (1854-55) with a third dying in 1856 aged only
eight months. He was particularly hit by the death of four year old Bedřiška
who was already musically talented. He sought solace in writing this most
affecting trio quickly between September and November of 1855 immediately
following Bedřiška’s death. Music is so much more able to
express such deeply felt emotions than mere words can ever be. This explains
why many novelists envy composers for that ability. Smetana’s sadness
is almost palpable in this work which he subjected to two revisions. This
final version is a cry from the heart to which everyone can readily respond.
Sylvie Bodorová is a new name to me so I was very interested to hear
her Prefigurations which she wrote in 1983. The opening is bleak in
the extreme with a three note theme which eventually grows in scope but with
the music always remaining very spare. Bodorová explains that the music
tries to capture the situation in which “we see or experience an image
of reality for which we have been wishing. But suddenly it vanishes and we
are left with just a belief or an awareness of the prefiguration.”
I don’t pretend to understand the concept but was nevertheless interested
to hear the work which has an ethereal feeling to it and which acts as a kind
of aural palate-cleanser in between the other works which come from the richly
‘romantic’ tradition.
It was interesting to read that while Gustav Mahler wrote so much music in
so many genres he wrote no chamber music apart from this most lovely one-movement
quartet. This he began at the age of sixteen during his first year at the
Vienna Conservatoire. I’m sure you’ll recognise it as I did and
puzzle not to say regret that he never added to it since such promise is indicated
that he had within him the capacity to have produced some wonderful chamber
works. The last item added as a ‘bonus’ is a fragment lasting
a mere eighty seconds and again tantalises with promise unrealised.
The Eben Trio play all the works beautifully and when they are joined by Kristina
Fialová (Terezie’s sister?) they become a very effective quartet.
I’m sure we will hear more from these talented musicians.
Steve Arloff
I’m sure we will hear more from these talented musicians.
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