The Forte Trio at Teatru Manoel – a review

On Wednesday Gaulitana moved to Malta to give Maltese audiences a taste of what is currently taking place in Gozo. Together with the Teatru Manoel it presented the Trio Forte from Kazakhstan in a performance of two trios by Beethoven and Smetana respectively framed by two short pieces by composers from Kazakhstan, a lyrical folksy piece and a more contemporary piece.

Beethoven’s Piano Trio in B flat major was written at at time when Beethoven was writing chamber works that include wind instruments that were still considered to be a novelty and very popular. The work is in fact scored for clarinet, cello and piano though the violin is also presented as an alternative to the clarinet. Though lyricism is the essence of this work the Forte’s performance was attentive to the trio’s range of moods. Their sense of tempo was perfect, so that, even at its most melodic, the piece maintained a dramatic impetus which was particularly marked in the last movement, a series of variations on a popular melody of the day and which already forecasts Beethoven’s mastery at writing variations. The performance beautifully grasped the principles of unity and dialogue which inform the work. Its gorgeous melodies were linked and passed from voice to voice, the three instruments entwining to create a smooth flow of the score which is shared among them. At no time did any of the three players dominate but each gave space to the others in a performance that was marked by technical and artistic clarity.

Also in three movements the performance of Smetana’s Trio in G minor came as a sharp contrast to the performance of Beethoven. It showed the same understanding of the score which is here essentially chromatic and replete with rhythmic variety. A natural pulse at the beginning of the first movement, Moderato assai, set the scene for the rich unfolding narrative of the work, which though not devoid of a melodic element in the more relaxed sections does not have a lyrical slow movement. The opening movement was followed with equal insight by the the ebullient scherzo leading to the radiance of the third movement which moved through a short funeral march to a witty finale that effectively rounded off the performance. Individual lines were remarkable for their focus and beauty, though the powerful sense of ensemble was never sacrificed to individual display.

This was a truly impressive performance marked by precision and coordination.