Review: Amatis Trio at Lakeside Arts

Dutchman Mengjie Han on piano, German violinist Lea Hausmann and British cellist, Samuel Shepherd are regarded as one of the leading trios of this generation. Formerly BBC New generation artists, they have been awarded a host of international competitions and prizes.

Before each piece was played, Sam, the cellist, explained their history. They opened the proceedings with the second of Beethoven’s beautiful Archduke Trios and played it with vigour, drive and pinpoint accuracy.

Some parts were really swinging, while others had a speed that left some of the audience bewildered. There was a section towards the end of the final rhythmically difficult movement, when the plucked violin and the piano were in perfect alignment.

There was much discussion during the interval. Some of the audience expected a more gentle rendition and were bewildered by the huge dynamic range of the playing. Others (like me) thought it exhilarating.

This was the last piece Beethoven actually performed live, playing the loud bits so loud, that the other instruments were drowned out and the quiet bits so quietly, people couldn’t actually hear him. So, he did intend it to have a big dynamic range.

After the interval we were treated to D’un soir triste, written by Lili Boulanger, daughter of Nadia Boulanger. Sadly, this was the last piece Lili composed before she died. It was an introspective piece, like a dark, swelling sea, gently teased out by the Trio’s sensitive playing, with the sun peeking through at the end.

Then onto Shostakovich’s second piano trio. Having been denounced by Stalin, with many of his friends and relatives killed or imprisoned, this piece, like many of his others, was seen as critical of the Soviet regime.

The trio begins with a haunting Jewish melody, played gently and vulnerably on the cello. Gradually reinforced by the violin and piano, it builds a strong rhythm. The second movement has a wild and violent tempo, inspired by Shostakovich watching a marching army.

The players really threw themselves into this, with sections of violin and cello almost sounding backwards. The third movement, described by Sam as Back to the synagogue, builds huge solid chords from the initial melody.

Before the rhythm returns, played as though an army is banging at the door, the violin almost sounding like someone screaming. For the fourth and final movement, the army-inspired rhythm returns and Shostakovich requires the violin and cello strings to be muted with rubber bungs.

The score requires the string players to play as loud as they can, but they sound gagged. The arrangement is then steadily stripped back to its basics and finally ends on one long, ethereal note.

After such an expertly played emotional journey, much enhanced by Sam’s initial explanation, it took some time for us to begin a rapturous applause. It is easy to see why this music would displease an autocratic state and Sam did comment on the timely nature of the piece.

As usual the programming at the Djanogly Recital Hall did not disappoint. To be fair, it rarely does. I have seen some phenomenal performances here and this was no exception.

lakesidearts.org.uk