Composer: Johannes Brahms
Works: Trio for violin, horn and piano, Opus 40; György Ligeti, Trio for violin, horn and piano (1982)
Performers: Christina Østrand (violin), Jakob Keiding (horn), Per Salo (piano)
Recording: Live recordings, Vestkirken, Ballerup, Denmark, October 1998 (Brahms), May 1999 (Ligeti)
Label: CHANDOS
Johannes Brahms’s Trio for violin, horn, and piano, Opus 40, represents a significant contribution to the chamber music repertoire, showcasing the composer’s penchant for rich textures and intricate counterpoint. Composed in 1865, this work emerges from a period where Brahms was deeply engaged with the interplay of thematic development and instrumental dialogue. The unusual combination of instruments, particularly the horn, lends a distinctive color to the piece, which has been frequently emulated by later composers, including György Ligeti. Ligeti’s Trio, written in 1982, emerges in stark contrast to its predecessor, reflecting the avant-garde tendencies of the late 20th century while still engaging with the sonorous possibilities of the Brahmsian model.
The Danish Horn Trio’s interpretation of Brahms’s work is marked by a meticulous attention to phrasing and a nuanced understanding of the textural interplay between the violin, horn, and piano. Østrand’s violin playing is characterized by a lyricism that captures the work’s expressive range, particularly in the second movement, where the dialogue between the violin and horn achieves a near-symphonic quality. Keiding’s horn performance is equally commendable, providing a warm, enveloping sound that enhances the trio’s harmonic richness. The duo navigates the intricate passages with precision, ensuring that the lines complement rather than overshadow one another—an achievement that is especially notable during the work’s climactic moments.
Ligeti’s Trio introduces a more fragmented, yet intricately woven tapestry of sound. The Danish Horn Trio adeptly manages the complex rhythmic structures and dissonant harmonies that characterize this later work, particularly in the final movement, which unfolds as an Adagio lament. This movement’s dark intensity resonates deeply, echoing Brahms’s own Adagio mesto in the third movement of his Trio. The performers embrace the challenges of slow tempi, skillfully balancing tension and release, and creating a palpable atmosphere of introspection. Here, the technical virtuosity of the ensemble shines, as they navigate the subtle clashes and resolutions within the musical lines with remarkable ease.
The recording quality from Chandos captures the acoustic of the Vestkirken beautifully, allowing the resonant qualities of each instrument to shine through. The clarity of the sound engineering ensures that the nuanced dynamics and articulations of both trios are conveyed with fidelity. This spatial awareness contributes significantly to the listener’s engagement with the music, allowing for a rich exploration of both works in a live setting.
The juxtaposition of Brahms and Ligeti in this recording is not merely an academic exercise; it serves as a dialogue between two distinct eras of musical thought. While Brahms offers a lush, Romantic sensibility, Ligeti’s modernity challenges traditional forms, pushing the boundaries of instrumental capabilities. The Danish Horn Trio navigates this spectrum with deftness, offering performances that are both technically accomplished and emotionally resonant.
This recording stands out not only for its interpretations but also for its thoughtful pairing of composers. The Danish Horn Trio’s commitment to both the historical context of Brahms and the innovative spirit of Ligeti results in a release that is both compelling and intellectually stimulating. The performers’ ability to maintain clarity and expression amidst the intricate demands of both works marks this recording as a significant contribution to the chamber music discography.
