Delta Piano Trio - THE MIRROR WITH THREE FACES
- 01 – Shostakovich – Piano Trio No. 2 in E minor Op. 67 – I. Andante
- 02 – Shostakovich – Piano Trio No. 2 in E minor Op. 67 – II. Allegro con brio
- 03 – Shostakovich – Piano Trio No. 2 in E minor Op. 67 – III. Largo
- 04 – Shostakovich – Piano Trio No. 2 in E minor Op. 67 – IV. Allegretto
- 05 – Auerbach – Piano Trio No. 1 – I. Prelude
- 06 – Auerbach – Piano Trio No. 1 – II. Andante lamentoso
- 07 – Auerbach – Piano Trio No. 1 – III. Presto
- 08 – Auerbach – Piano Trio No. 2 Triptych – The Mirror with Three Faces – I. Prelude
- 09 – Auerbach – Piano Trio No. 2 Triptych – The Mirror with Three Faces – II. First Unfolding
- 10 – Auerbach – Piano Trio No. 2 Triptych – The Mirror with Three Faces – III. Second Unfolding
- 11 – Auerbach – Piano Trio No. 2 Triptych – The Mirror with Three Faces – VI. TellÕem What You See
- 12 – Auerbach – Piano Trio No. 2 Triptych – The Mirror with Three Faces – V. Folding – Postlude
DELTA PIANO TRIO – THE MIRROR WITH THREE FACES
The Delta Piano Trio enjoys a special relationship with composer Lera Auerbach. Whilst searching for contemporary repertoire the group fell in love with Auerbach’s piano trios, performing them regularly and, after writing to her about them, enjoying the opportunity to work on this music together with the composer. This experience has given these musicians a unique insight into Auerbach’s piano trios. The title of this CD was inspired by Auerbach’s second piano trio, Tryptych – The Mirror with Three Faces (2012). The work, which is at the heart of this disc, follows the physical construction of a hinged mirror, and Auerbach speaks of it in terms of a theatre piece in which three individuals have their own separate stories but are part of a single entity. Yet there is an ambiguity about the reflection in the mirror – is it three facets of the same person, or three separate images?
Auerbach’s Piano Trio No. 1 is one of her earliest works, with fascinating allusions to 19th- and 20th-century musical traditions, yet with the addition of very specific effects which imbue her music with a unique spectrum of colours. The influence of Shostakovich is audible in Auerbach’s Piano Trio No. 1, and this disc opens with Shostakovich’s Piano Trio No. 2. The opening movement is a paradoxical combination of rigorous counterpoint and ethereal harmonics, followed by a more forceful, rustic and ironic second movement. A mournful passacaglia follows, and the work concludes with a haunting ‘Dance of Death’.
The Delta Piano Trio hails from The Netherlands but met in Austria, where they soon discovered a wonderful personal and music rapport; a unique and infectious friendship which is communicated in the joy and intimacy of their performances. The Delta Piano Trio has performed extensively in Europe, Russia, Israel, China, South Korea and the United States, including concerts at the Salzburg Chamber Music Festival, the New York Chamber Music Festival, and at the Concertgebouw in Amsterdam; the Trio has also won prizes at numerous international competitions.
Booklet in English, German, Dutch and French.
Program notes by Hugh Collins Rice.
“… an instant ear grabber… Gerd Spronk, Irene Enzlin and Vera Kooper are the excellent trio players, and Odradek’s new Italian studio sounds idyllic.”
Slipped Disc - Norman Lebrecht / December 2017
Album of the Week
“As the last releases of the year drop through the door, this is an instant ear grabber. Debate has raged for three decades as to whether Dmitri Shostakovich was a limp Soviet puppet or a secret resistant. The first view was advanced by US musicologists, who would not be satisfied until they had a signed document saying ‘I hate Stalin.’ Russian friends and fans of the composer heard his dissidence expressed in the music.
Thankfully, the dispute is being resolved by a new generation of musicians who come fresh to the music. The Delta Piano Trio’s account of Shostakovich’s second Piano trio, dated 1944, leaves no doubt to the composer’s state of mind in the closing stages of the Second World War. Ostensibly a tribute to a late friend, Ivan Sollertinsky, the work ripples with anger and frustration at pointless deaths and ruined lives – the appalling legacy of the Stalin-Hitler era. The last two movements, with their overt Hebrew melodies, are a protest at Soviet indifference to the Nazi holocaust of the Jews. I don’t think I have ever heard the finale played with more explicit regard to the composer’s intentions.
This deathless masterpiece is paired with two trios by the post-Soviet composer Lera Auerbach, who settled in the US, aged 17, in 1991. Musically, Auerbach occupies a post-Shostakovich estate, employing Bach bites and Mahlerian irony to drive a brisk, bleak, unsentimental outlook. At first hearing, she does not sound like the most original composer ever to draw pen. But her collage technique, reminiscent of Schittke though less aggressive, is effective in various surprising ways. The more recent of the two trios, dated 2012, dances very slowly on the edge of a volcano. Where Shostakovich blazed against the totalitarian state, Auerbach laments our present states of leaderless uncertainty. She’s a mature composer with a lot to say. Gerd Spronk, Irene Enzlin and Vera Kooper are the excellent trio players, and Odradek’s new Italian studio sounds idyllic.”