United Kingdom Beethoven: Gould Piano Trio (Lucy Gould [violin], Richard Lester [cello], Benjamin Frith [piano]). Wigmore Hall, London, 26.2.2023. (MB)
Beethoven – Piano Trio in G main, Op.1 No.2; Variations in E-flat main, Op.44; Piano Trio in E-flat main, Op.70 No.2
There have been starrier and higher-octane performances of Beethoven piano trios, however this Wigmore Hall live performance from the Gould Trio had a lot to supply an viewers permitted, because it have been, to listen in on a night’s music-making between pals: nothing particularly to show, apart from the gamers’ clear love of music and this music specifically. That and, I ought to add, a pleasant vindication of the not often carried out Op.44 E-flat Variations.
First up was the G main Trio, Op.1 No.2, its first motion introduction broad and mysterious, but clearly heading someplace. But the place? The most important Allegro vivace emerged properly, nearly imperceptibly, although we have been quickly emphatically ‘there’. A couple of oddities of steadiness have been to be heard on this notoriously difficult medium, however nothing that would not quickly be ironed out. It was a pleasure to listen to the event part pushed motivically, particularly through Benjamin Frith’s piano. As an entire, the motion struck the precise be aware – for me – of sunniness, tinged by slight melancholy: Beethoven in G main. The second motion continued in expansiveness, with notably sweeter tone. The putting maturity of Beethoven’s writing right here (1793) was relished and communicated, from rapt contemplation of the Kantian heavens to darker shadows under. Springing once more from Haydn, but equally going past in new, stunning instructions, the Scherzo may at occasions have had a bit of extra edge, however higher that than the cruel onerous driving of so many latest Beethoven performances. Haydn’s conception of a Presto was actually to be heard within the Finale, good-humoured but tenacious. Perhaps the motion goes on a bit of, but when so, it was troublesome to thoughts in so participating a efficiency.
The theme, or ‘non-theme’, as cellist Richard Lester known as it in a short spoken introduction, of the Op.44 Variations was despatched straight, with a few opportune archings of eyebrows. Good-natured growth allowed every musician – and instrument – moments to shine, Lester’s rich-toned but variegated solo within the fourth variation a living proof. The unhappiness of the E-flat minor, Largo seventh variation registered with out exaggeration, a case research in quiet transformation, each as composition and efficiency. An rising array of strategies, palpably honest, even when – significantly when? – on the cheekier finish of the spectrum, was deployed to spherical off a positive efficiency of a piece deserving of extra frequent outings.
A ‘rarer’ tone was to be heard on the opening of the E-flat main Trio: not precisely ‘late’, but already peering into that world. Comparison of introductions was instructive. Here, there was little question that each single be aware counted. Similarly, there was little question that the Allegro ma non troppo exposition, once more clearly derived from what had gone earlier than, was each extra complicated and but, no less than in some methods, extra straight expressed. Subjective fragility was a part of that, as have been the surprises of developmental twists and turns. Throughout, the connection – together with, but not restricted to steadiness – between devices was properly judged. Next, the gamers understood and conveyed the reality that, for Beethoven, ‘Allegretto’ is extra a matter of character than pace. Both inside actions bore that character, but sounded fairly totally different. Haydn’s pupil isn’t extra so than when he’s being himself, the second motion playful and passionate, the third noble and nearly infinitely refined. The Finale was extra fractured, intonation maybe a bit of awry at occasions. Beethoven on edge, although, isn’t any dangerous factor; the battle mustn’t ever be too simply received. His simple radicalism was right here given its full due. As an encore, we heard a captivating association of the Septet’s Minuet.
Mark Berry