Briggs Piano Trio [David Juritz (violin), Kenneth Woods (cello), Sarah Beth Briggs (piano)]
Piano Trio in E major Op.18 (1923)
Variations über eine Wiener Heurigenmelodie Op.9 (1914)
Piano Trio no. 2 in E minor Op.67 (1943)
Avie AV2390 [63’05”]
Recorded 11-13 March 2018 at Wyastone Leys, Monmouth
Producer/Engineer Simon Fox
Reviewed by Richard Whitehouse
What’s the story?
The reappraisal of Hans Gál (1890-1987) continues with his music for piano trio, performed by musicians who have been consistent advocates of the Austrian-born Scottish composer.
What’s the music like?
Both of Gal’s contributions emerged relatively early in his career, when he fast establishing a reputation in his native Vienna as composer and teacher. The Piano Trio is typical in terms of the subtle ingenuity Gál brings to this deceptively orthodox structure. Thus, the Tranquillo opening of the first movement alternates with faster material such that its underlying sonata design becomes cumulative in its formal cohesion. There follows a propulsive scherzo, itself contrasted with an insinuating trio, then a finale whose eloquent theme initiates a series of variations which deftly extends the music’s expressive range on the way to a headlong coda.
Lighter in tone, the Variations on a Viennese ‘Heurigen’ Melody itself wrests a surprisingly varied sequence from a ‘street tune’ whose evidently unprintable text is wittily evoked here.
It was almost inevitable, even so, that Gál’s works should be outfaced by the Second Piano Trio of Shostakovich. Inscribed to the memory of the composer’s friend and confidante Ivan Sollertinsky and inspired by reports of atrocities committed during the Nazi invasion, this may also have been influenced by his recent friendship with Mieczysław Weinberg in its drawing on Jewish folk inflections – particularly in a finale whose ‘dance of death’ material creates an inexorable momentum that is powerfully in evidence here. Nor is there any lack of conviction in the first movement’s gradual intensifying of motion, the scherzo’s sardonic gaiety then the Largo’s simmering pathos in this most direct of Shostakovich passacaglias. The work’s closing bars, too, are all of a piece with what before in their fateful resignation.
Does it all work?
Indeed. The Briggs Piano Trio is an excellent ensemble, and as at home with the methodical elaboration of the Gal as it is with the more intuitive unfolding of the Shostakovich. Earlier recordings of the former are outclassed by this new version, while that of the latter can rank among the finest of recent years. It helps that the sound has a combination of spaciousness and immediacy ideal for this difficult medium, with Kenneth Woods‘s own notes providing a succinct though informed overview to help set these pieces within their rightful context.
Is it recommended?
Very much so. If neither Gál work represents his earlier music at its finest (for which turn to his first two string quartets or the Second Symphony) they offer rewards aplenty, while the Shostakovich is a version to reckon with. Further releases by this group are keenly awaited.
You can listen to this new release on Spotify:
You can read more about the release on the Avie website, while the video below gives a preview of the disc: