The Trio Testore was
founded in 2000 by three internationally established concert artists, pianist
Hyun-Jung Kim-Schweiker, Violinist Franziska Pietsch and Cellist Hans-Christian
Schweiker. The name of the trio comes from the fact that Franziska Pietsch and
Hans-Christian Schweiker both play instruments made by the well-known Milanese
luthier family Testore (the violin by Carlo Antonio, 1751 and the cello by
Carlo Giuseppe, 1711).
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| 2 SACD 91.668 |
This new two disc set
includes the original version of Brahms’ Piano Trio No.1 written in 1854.
Given that in the final version, made in 1889, Brahms re-wrote almost
everything except the Scherzo and the opening thematic groups of the other
three movements, this version can reasonably be thought of as another
completely different Piano Trio. Does this mean that Brahms actually wrote five
Piano Trios? On the evidence so far available I think it best to assume that,
including the new version of the First Piano Trio, Brahms actually wrote four.
The best known and most widely recorded version of the Piano Trio No.1 in B major, Op.8 is
that of the revised 1889 version. In this recording pianist Hyun-Jung
Kim-Schweiker introduces lovely mellow sounds to which the cello and later the
violin join, the violin adding more emotional clout to this Allegro con brio. There is some really incisive playing here, with fine dynamics as
they work up to the dramatic moments, instinctively finding how to surprise one
when the beautiful climaxes come, making the most of the youthful Brahms’
passion, albeit filtered through his later experienced ears.
The Scherzo. Allegro
molto receives some lovely playing, full of momentum with fine textures
from the strings. The Trio Testore finds
much mystery in the opening of the adagio.
As the movement progresses and settles, the violin and cello produce a lovely
blend of tone. Again these players know how to bring out the dynamics and
passion in this piece, with some lovely limpid piano sounds from Kim-Schweiker
as the movement draws to a close. The unsettled allegro receives a tremendously volatile performance in playing of
great ensemble, dynamics and passion and with a superb coda.
The Allegro of Brahms’ Piano Trio No.2 in C major, Op.87
(1880-1882) is given a pretty stormy opening before it calms. In between
the stormy thrust of this movement, there are some lovely string textures in
the quieter passages. The opening theme of the Andante con moto is beautifully done with a lovely breadth. As the
five variations progress, the last stretched to form a coda, Kim-Schweiker makes
the most of the opportunity for some lovely playing. The light and breezy Scherzo.
Presto, with its lovely trio section, receives a fine performance here,
perfectly balanced with spot on ensemble. In the confident Finale. Allegro giocoso Brahms
seems to brush away all the stormy uncertainty and the music flows quickly
forward, with again some gloriously done string textures before the joyful
coda.
The rarely recorded original
1854 version of the Piano Trio No.1 in B
major, Op.8 lasts for around forty nine minutes against the revised version
that lasts around thirty eight minutes. However, the length isn’t the only
difference, as the only movement to remain in any way the same is the Scherzo.
After revising this trio in 1889, Brahms wrote to Clara Schumann referring to
the ‘wild’ character of this early version.
In the opening Allegro
con brio it is strange to hear how immediately different the original
version of this trio is, with the violin entering in a rather flamboyant manner.
There is a somewhat awkward piano theme that stands out and the instruments are
often allowed solo passages that make the work less homogenous. If anything
this first movement is so sprawling that occasionally it tends to drag. No
wonder that Brahms kept the Scherzo.
Allegro molto as it is so full of rhythm and momentum.
The original Adagio
is a less passionate, more fragmentary sounding movement with the strings
quietly commenting on the piano theme. It does try occasionally to rise to a
more passionate level but never quite seems to make it, falling back to end
quietly.
The concluding Allegro
opens with the same unsettled nature as the revised version and has much of the
same passion, if less taut in structure. It receives some fine playing with
much sensitivity in the quiet moments. The Trio Testore make a fine case for
this version that, for all its faults, is a fascinating work to hear.
Brahms was in his full maturity when he wrote the Piano Trio No.3 in C minor, op.101 (1886).
At less than half of the length of the original version of Op.8 this concise
trio opens with a tremendously powerful allegro
energico with a gloriously played second subject. The second movement may
be marked presto non assai but it is nevertheless quiet and withdrawn with the
strings muted throughout and pizzicato passages beautifully supporting the
piano theme.
The strings open the andante
grazioso before the piano enters alone in the same theme. Brahms for the
most part keeps the instruments from playing together in this rhythmically
alternating movement that allows the pianist to display some beautifully
delicate playing. The violin and cello again blend wonderfully. The rhythm is
pretty unpredictable in the restless allegro
molto where the Trio Testore, with their wonderful dynamics, textures and
ensemble are truly magnificent, bringing out all of Brahms’ turbulence.
Whilst reviewing this new release I referred back to a
favourite recording by the Beaux Arts Piano Trio on Philips. In comparison to
the Trio Testore, the Beaux Arts Trio sound restrained and classical in their
approach. Their recording, whilst of the best quality for the time sounds
slightly muted.
It is the Trio Testore that made me hear afresh the three
main trios in performances where they play their hearts out. They have been
given a sensationally good recording, so detailed and natural. With the
Testores including a recording of the original version of Op.8 this new release
is irresistible.
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