Sergei Rachmaninov (1873-1943)
The Return
Trio élégiaque No. 2, op.9 (1907 rev.)
Prélude op.32 No.10 (arr. for piano trio by Th. Beijer, 1988)
Trio 258
rec. 2022, Muziekcentrum van de Omroep (studio 1), Hilversum, The Netherlands
Challenge Classics CC72920 [57]
This disc is the debut recording from Trio 258, and it offers an exceptionally fine and sensitive reading of one of Rachmaninov’s most deeply emotional compositions, the second Trio élégiaque, op.9. Originally written in 1893 to commemorate the death of Piotr Ilyich Tchaikovsky, the work is dedicated “to the memory of a great artist.” The form generally follows Tchaikovsky’s own Piano Trio in A minor, op.50. Subsequently, Rachmaninov reworked and shortened the trio in 1907, and it is this version that is recorded here. Rachmaninov revisited the piece in 1917, cutting it even further.
For some reason this piece does not get much attention in Rachmaninov’s catalogue of works, perhaps because it is so emotionally wrenching. The first movement opens with a repetitive piano figure that reminds one of Liszt’s lugubrious gondoliers. Beginning softly, the supporting piano part eventually transforms into familiar massive Rachmaninov power chords, which Lestari Scholtes handles with aplomb. The cello tends to be in fairly high territory until the ending of the movement, where one is faced with the richness of the low D on the cello. That richness is amplified by the fact the string players in Trio 258 use gut rather than metal strings, and at this moment that choice is well-rewarded.
The second movement, Quasi variazione, features eight variations on a theme used by Rachmaninov in The Rock, op.7. That piece was also written in 1893, so this motif was clearly weighing on the composer’s mind. Deftly and deceptively simple, at its core the theme is based on two pair of semitones, one descending and the other ascending, The theme is first stated in the piano solo, and the solo piano also appears throughout the movement in between variations and sometimes in the midst of variations.
This performance offers an intense mournfulness in the first two movements. The third movement, Allegro risoluto, also opens with solo piano, in a difficult combination of Allegro molto and pianississimo (ppp) that requires intense restraint on the part of the pianist. Scholtes is let down a little by the engineering here, since dynamic compression makes the ppp hardly distinguishable from the mezzoforte, which rather spoils the intended effect. Nevertheless, the piece reaches a thrilling height as all three voices play in unison, and then end in a final reprise of the opening movement. It’s painfully beautiful, with both delicacy and force as is called for by the score.
The disc closes out with an arrangement of Rachmaninov’s Prélude for piano op.32 No.10. The transition from solo piano to piano trio is quite successful, featuring a natural separation of voices without making the piano part feel like it has been plundered or reduced. It is a fitting companion to the Trio élégiaque in mood and character. The liner notes by Trio 258 remark that Rachmaninov himself characterized this prelude as “the Return,” and thematically Return is important to this CD; not only does the main theme return at the conclusion of the Trio, but the recording and the music represent to them “our own return to the world after two years of musical isolation during the pandemic period.”
Trio 258 does a fine job with this remarkable piece, wearing their Romantic hearts on their sleeves. In addition to using gut strings, they say in the liner notes that they have listened extensively to early recordings, and have tried to bring some of that looser feeling to the recording. In this, they have succeeded admirably. There is a good deal of portamento, sliding between notes, that one does not hear much in current recordings. But for these pieces, it seems highly appropriate and is successful from start to finish.
This disc compares quite favorably to the other recordings of the Trio that I’m familiar with. The 1983 recording by the Borodin Trio (Chandos CHAN 8341) uses similar tempi, but the sound for the early days of CD is rather harsh and unpleasant, certainly in comparison to the comforting warmth of the Trio 258 edition. The Oistrakh Trio recording (review) is obviously dated and of lower engineering quality, but also is mixed in a way that emphasizes David Oistrakh’s violin to the point that the Trio seems almost like a violin sonata with a barely audible cello popping in every now and then. Trio 258 avoids that star system by making the three participants equal partners, as it should be.
The recording that seems most comparable to this one is that of Vladimir Ashkenazy (piano), Zsolt-Tihamer Vinsotay (violin), and Mats Lidstrom (cello), Decca 478 5346. There again we have the influence of star power, as Ashkenazy’s piano tends to be a bit out in front, but that’s far less head scratching than the Oistrakh version, considering the importance of the piano to the score. The Ashkenazy and Trio 258 recordings are pretty much a toss-up, depending on how much one prefers Trio 258’s rather old-fashioned and broad Romantic style versus a more modern but still affecting version. But that’s pretty good company. I find the warmth of the gut strings compelling, tipping the scales in favor of Trio 258.
Overall, this is a satisfying disc, and a very auspicious debut for Trio 258. They take all of the repeats notated by Rachmaninov in the 1907 edition. Their liner notes are solid and informative.
Mark S. Zimmer
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