Mark Hartt-Palmer, violin
Raymond Greenlees, cello
Richard Barnes, piano
A large audience enjoyed two nicely contrasted trios - the major key piece suggestive of the open-air, with a spring-like opening, and the C minor more personal and serio
us in tone. Neither piece is among the few truly popular trios, but the players' enterprising choice (the Saint-Saens was recently out-of-print) gave us two works that are well worth hearing.
A good interpretation of the Brahms is important for the general listener, as it is not so tuneful as other chamber works of the same period (Brahms wrote three great sonatas, two for violin and one for cello, around that time). For example, the first movement's second subject can sound comparatively weak, but the Chichester Trio's slowish allegro energico and lyrical phrasing allowed the melody to blossom. The tempo also revealed how the following passage presages the mysterious music of the scherzo, which was itself adroitly played and beautifully characterized. The players' sensitivity remained in evidence throughout the slow movement, its tender nature being well conveyed, and I have heard the little decorations in the pianist's right hand sound, so to speak, fragrantly Victorian - but not in the playing of Richard Barnes. The finale began with plenty of life and muscle, the players managing a balance (as throughout) in which the piano never overwhelmed its partners. They sustained the drama admirably through the return of the mysterious mood and its gradual dismissal by music of increasing passion, carrying the audience with them to the rousing conclusion.
Why is the Saint-Saens trio not better known? The music is fresh - refreshing, some might say after the Brahms - and genuinely inspired. This chameleon-like composer (his few popular pieces are so varied in style) shows yet another face here, particularly in the outdoor music of movements one and two, where the phrase "French Dvorak" occasionally came to mind, then follows up with a sparkling little scherzo that brought a smile to my face. And I wouldn't be sounding so enthusiastic if the Chichester Trio hadn't given us a committed and characterful performance: their quickish tempo for the andante, for example, with its evocation of the hurdy-gurdy and ensuing song-like music, painted a landscape more attractive and recognizable than that depicted on the highly-regarded Hyperion CD.
So full marks to the Chichester trio for a high standard of playing and interpretation that brought this little-known music fully to life. Yet another free recital that invited generosity at collection time!
Phil Jenkins.
