Composer: Felix Mendelssohn
Works: Piano Trios Nos. 1 and 2, Op. 49 and 66
Performers: Gould Piano Trio – Lucy Gould (violin), Martin Storey (cello), Benjamin Frith (piano)
Recording: Potton Hall, Dunwich, Suffolk, April 2000
Label: NAXOS 8.555063
Felix Mendelssohn, a master of lyrical expression and structural clarity, composed his Piano Trios during a period marked by both personal and artistic maturation. The first trio, written in 1839, reflects the youthful exuberance and harmonic daring of his early years, while the second, completed in 1845, showcases a more confident and sophisticated compositional voice. These works, rich in thematic development and emotional depth, offer a compelling canvas for interpretation, making the Gould Piano Trio’s recent recording a noteworthy addition to the catalog of Mendelssohn’s chamber music.
The Gould Piano Trio approaches the D minor Trio, Op. 49, with an earnestness that is commendable, yet at times falters under the weight of its own interpretative choices. The opening movement, marked Molto allegro agitato, lacks the necessary urgency, as the ensemble’s phrasing, though sensitive, tends toward the fey, risking the architectural integrity that Mendelssohn so carefully crafted. The rubato in the Andante con moto tranquillo, while expressive, occasionally ventures into the realm of affectation, diluting the movement’s inherent calmness. The Scherzo, intended to be lively and playful, feels somewhat rigid, as the trio’s inflections do not fully align with Mendelssohn’s spirited intentions. Overall, the Op. 49 trio struggles to find its footing, with disparities in tempo and nuance leading to a performance that, while technically proficient, ultimately lacks the cohesive magic that characterizes the best interpretations.
In contrast, the performance of the C minor Trio, Op. 66, reveals a marked improvement in interpretative clarity and ensemble unity. Here, the Gould Piano Trio finds a more suitable tempo, allowing the vigorous first movement to unfold with the assertiveness Mendelssohn envisioned. The Andante expressivo is particularly effective, delivered with a simplicity that enhances its lyrical qualities. The dynamic contrasts in the Scherzo are well-executed, infusing the music with an infectious energy that was somewhat muted in the earlier trio. The Finale, however, could benefit from greater unanimity in string tone, as the dialogue between piano and strings occasionally lacks the robustness required to bring the work to its full potential. Frith’s playing remains a driving force throughout, providing not only technical assurance but also a rhythmic underpinning that galvanizes the ensemble.
Recording quality at Potton Hall presents some challenges, with the acoustic sometimes rendering the cello’s voice too recessed. Additionally, minor extraneous sounds, including an overzealous sniff from Gould, may distract attentive listeners on repeated hearings. Nevertheless, the engineering captures the tonal richness of the ensemble well, allowing for clear delineation between the instruments, which is essential for chamber music of this nature.
While the Gould Piano Trio’s interpretations of Mendelssohn’s Piano Trios have their merits, they do not quite rise to the standards set by some of the established recordings. The historical recordings by the Stern-Rose-Istomin Trio on Sony and the legendary collaboration of Cortot, Thibaud, and Casals remain touchstones, representing a benchmark of interpretative insight and technical brilliance that the Goulds have yet to fully achieve. The perceptive listener will still find value in this recording, particularly in the Op. 66, where the trio’s musicality and commitment shine through more brightly.
This NAXOS release, while not without its shortcomings, ultimately contributes to the ongoing dialogue surrounding Mendelssohn’s works, affirming the enduring relevance of his music and the continued exploration of its interpretative possibilities by new generations of musicians.
