Common readers will know that I’m an enormous fan of the piano trio – piano, cello, violin. I feel it’s an effective way into chamber music: probably the most approachable and in addition probably the most satisfying model of the shape. And it offers us the composers working with the three nice devices of their most intimate and involving compositional moods.
My favorite younger British piano trio is the Mithras – Dominic Degavino on piano, Ionel Manciu on violin, and Leo Popplewell on cello. They gained the Trondheim Worldwide Chamber Music Competitors and the Royal Over-Seas League Music Competitors in 2019. They have been additionally chosen as BBC Radio 3 New Technology Artists for the 2021-23 seasons. Go and see them should you get the possibility: their reside performances are so filled with verve, freshness and vitality, and the flexibility of their repertoire is unparalleled.
And so it was an important pleasure to meet up with 29-year-old Degavino to debate piano trios and to try to reply a query that I had following the final piece I wrote in these pages. It’s the identical query that I get requested when programming piano trio live shows by audiences new to the shape: The place’s place to begin? And what are the highest ten piano trios?
After all, it’s also an unattainable query to reply – since there are such a lot of first-class examples, and so they’re all so very totally different. All the identical, Degavino is a good information. His modesty and unassuming dialog belies the truth that the Mithras sound – daring, attention-grabbing, dedicated – is in no small half due to his skilful phrase-making. And there might be no higher younger ambassador within the UK to supply a information for these eager to being their piano trio journey.
We begin with Beethoven. I counsel the Ghost Trio, Op 70, No 1, however Degavino has a delicate spot for Op 70 No 2 (the E-flat main – additionally composed in 1808). “It is rather underrated… the opening is magical, and the final motion is scarily difficult – particularly for the pianist to play,” he says. “However ultimately, we have now to go for Beethoven’s Archduke [Op 97]. It’s merely one of many biggest items of all time – by no means thoughts one of many biggest trios.”
From Beethoven to Schubert, as so usually. “Each of the Schubert trios are wonderful,” Degavino says, “however Op 100 in E-flat is extra luxurious to play and barely simpler to let go – whereas Op 99 is tighter.” You possibly can’t go mistaken with both of those, however these new to the shape will possible recognise the second motion of Op. 100 – most likely probably the most well-known passage of any piano trio written. Begin right here if you’re quick on time and simply want a fast shot and a means in.
Tchaikovsky’s solely piano trio is subsequent – most likely my favorite for the time being. “It’s a type of items that has the entire world in it,” Degavino explains. “Sure, it’s very darkish in some methods, nevertheless it’s additionally a joyous celebration of life as nicely… each of these issues on the similar time. And it’s an actual emotional expertise to play it.” When you ever get an opportunity to listen to this piece reside, it’s best to go. It’s immense, dramatic and deeply shifting, and – apart from anything – has the one most haunting and life-arresting ending to any piece of music ever written.
Conversely, Shostakovich’s second piano trio (Op 67, E-minor) most likely has the best opening of all of the trios – the cello taking part in in high-pitched and ghostly harmonics. Shostakovich wrote it in 1944 and it premiered in war-ravaged Leningrad. Phrases resembling “haunting” and “desolate” don’t do it justice. “The journey that you just go on is simply extraordinary,” Degavino says. “The wildness of the final motion… which simply turns into increasingly manic and the sheer desolation on the finish. And it’s one of the difficult trios for the strings, too – an actual exercise.”
We transfer on to the French. Degavino begins with the well-known Ravel trio from 1914 in A-minor. I like this piece as a result of it blends that shimmering impressionistic sound with Basque influences. For Degavino, “it’s the color and the harmonic language and the way in which the piece transcends the sound of a piano trio in a great way. When you’re taking part in it, you lose the standard roles by some means… The piano textures are so totally different and summon up a unique sound world.”
From Ravel, it’s a brief leap to the opposite mighty French trio – Fauré’s D-minor Op 120. This was composed in 1922-23 when he was in declining well being and practically deaf. The piece is legendary for its layered class, lyricism and harmonic sophistication. “It’s virtually a trance within the first two actions,” Degavino explains, “you lose observe of time and house earlier than the final motion jerks you again into the current second.”
We hit a dilemma with Brahms. “I need to say the primary in B-major, Op 8. It’s such an expansive piece which he revised a lot later in his life, and it’s received some great tunes, however I’m going to go for the C-minor [Op 101] as a result of it was one of many first trios we performed collectively because the Mithras. The piece simply has this concentrated power. Very, only a few items say a lot in 20 minutes.”
I’m lobbying for Mendelssohn, however we each realise with horror that we’ve overlooked Mozart, which no account of music can do. “It must be the B-flat [K 502],” Degavino affirms. “I’m in love with this as a result of it’s very lovely. I like the lightness, and the interaction between the devices is such enjoyable. We do get pleasure from having a mess around with repeats and ornamentation. The melodies get caught in your head, and it has one of the lovely gradual actions in all classical music.”
I have no idea Degavino’s subsequent selection in any respect: Iván Erőd, Trio No 1, Op 21. “We’ve got recorded this trio,” Degavino says, “and it’s super-inventive and accessible for a contemporary work… the jazzy final motion at all times will get audiences going.” This was fully new to me, so I went away and listened and beloved it: the piece is someplace between Bartók and jazz, with greater than a suggestion of Shostakovich within the rhythm and assault.
At this level, we’re bumping up onerous towards the impossibility of lists since there are at the very least one other dozen contenders. However immediately, Degavino brightens and says with readability: “Ah, I’d undoubtedly need to embody the wonderful Amy Seaside, Op 150. It’s a late piece from 1938, and it’s so filled with color. Her fashion had modified so much… it’s virtually impressionist… filled with attention-grabbing concord and one thing you may get actually caught into.”
We’re out of time and house, “however clearly”, Degavino provides, “you need to point out one other dozen or so… Dvořák, Saint-Saëns, and one other private favorite, Helen Grime, who we have now additionally recorded.” And Mendelssohn, I say.
[See also: Why we’re stuck in Ancient Rome]