What a pleasure to hear the young, joyous musicians who form the Sitkovetsky Trio. Their style is economical and focused on neatly woven patterns of sound exchanged between the violin, cello and piano. The three met at the Yehudi Menuhin School in Britain and established the trio in 2007. Since that time they have gathered numerous awards and performed in some of the world's most revered concert halls.
Subscribe now for unlimited access.
$0/
(min cost $0)
or signup to continue reading
Smetana's Piano Trio in G minor, Op. 15 was a well-chosen opening work, encouraging the musicians to demonstrate a passionate approach to this dramatic, romantic work. Powerful attack, attention to dynamic contrast and the clever use of varying speeds of vibrato created distinctive textures for each of the complex three movements. The violin solo by Alexander Sitkovetsky provided an intense, exciting beginning, opening the conversations that were developed between cello and piano through the contrasting speed changes of each movement.
The centrepiece of the concert was a new work by Carl Vine, a piano trio titled The Village. Described by the composer as the musical representation of the relationships we form with our particular community, the structure is free and without defined movements, but the energy of the work is contemplative at the halfway point and more intense as the music concludes.
Wu Qian's sensitive interpretation of the piano line provided the vital textural foundations underpinning the unfolding musical ideas in the work. Her touch in the upper register of the opening phrases produced an effect like the silvery sounds of a glockenspiel. This flowed into a more conventional pianistic accompaniment style as fragments of dance rhythms and melodies were interwoven by cello and violin and developed into more assertive melodic phrases in conversation. The Village provided an effective contrast with the Smetana work, opening the ears to alternative tonalities before the repertoire returned to the 19th century after interval.
Beethoven's ''Archduke'' Trio is well-loved for the optimistic promise it expresses. All four movements are of varying speeds, convey an inner life and propulsion that infects the listener with enthusiasm. With Qian's piano acting as the fulcrum, the cello and violin interacted to build and release energetic interpretations of the unfolding themes and variations.
It was in the encore, however, that we heard the true majesty of the Sitkovetsky Trio. The second movement of Mendelssohn's Piano Trio No. 1 was the first piece the ensemble ever played together. Somehow the sense of discovery and special communion of musical intentions has been retained, and this concluding performance combined luscious harmonies with extravagant, fluid phrasing.
Sitkovetsky Trio, Musica Viva, Llwellyn Hall, Thursday April 9.
