History of the Russian Piano Trio 7
Lost in Russia
Vladislav Aloiz (1860-1918)
Piano Trio in F Major Op.40 (1894)
Alexander Winkler (1865-1935)
Piano Trio in F Sharp Minor Op.17 (1910)
The Brahms Trio
rec. 2022, Large Hall of the Moscow Conservatory
Naxos 8.574688 [61]
In volume seven of the Naxos and Brahms Trio’s series History of the Russian Piano Trio we meet two composers whose career was in Russia but come from a different lineage. Vladislav Aloiz was a virtuoso cellist who was born in Prague and after graduating from the conservatory there he taught cello and piano in Warsaw and, more to the point of this series, Kyiv and Odessa. He also toured and played alongside Leopold Auer. In 1897 he became a professor at the St. Petersburg Conservatory and played a large part in the city’s musical life. His end is a mystery; he left his apartment one day in 1918 and was never seen again. Though born in Kharkiv Alexander Winkler came from an Austrian family. After graduating in law he went on to study piano with the great Theodore Leschetizky and composition with Karel Navrátil and Victor-Alphonse Duvernoy. He returned to Kharkiv for a while before going on to teach at the St. Petersburg Conservatory just one year before Aloiz; Prokofiev and Myaskowky were in his composition class. He remained there until the political situation meant a move to Besançon where he died in 1935.
The piano trio by Aloiz is unremittingly romantic in style which may have played a part in its neglect though that hasn’t hindered the success of Anton Arensky’s piano trio in D minor written in the same year. This work is certainly highly melodic and Aloiz’s abilities as both a cellist and pianist are clear in the fluid and virtuosic writing. The first movement opens in optimistic mood with a lovely flowing theme in the cello that soon blossoms out in the piano while the second theme, played over a syncopated accompaniment is more reflective. Passionate and ardent writing characterises the central development. The second movement is elegiac, its opening music reminiscent of Tchaikowsky. Slowly gathering pace the expected stormy mood turns out to be rather fairer weather and though the elegiac music returns the close is tranquil. The finale’s introduction leads to a comically jaunty country dance that, after a good deal of passagework, leads to more lyrical music which, like the opening music sounds more folk inspired than the writing in the first two movements. A short, faster coda leads to a triumphant conclusion. The warmth of the writing here is engaging and is untroubled by any of the modern trends that were beginning to make inroads into some composers’ work. Even more nostalgically romantic is the four movement trio by Winkler; it opens with solo piano presenting the first theme, darker hued than anything in Aloiz’ Trio and a little reminiscent of Rachmaninov, an echo that is felt throughout the movement. The second theme, at first tender and somewhat sentimental, is skilfully developed by Winkler into a cello and violin duet with arpeggio accompaniment from the piano – more echoes of Rachmaninov – before heading back to the brooding opening theme. The exuberant scherzo harks back to mid 19th century models and the trio weaves counterpoint in amongst its brooding chromaticism. The slow movement, a lovely song without words, opens with a piano accompaniment redolent of Liszt but Brahms and Tchaikowsky make themselves felt in the main melody and mood. Rising to a glorious climax this is the emotional heart of the work and is worth the price of the disc in itself. The opening of the finale gives an impression of stern stiffness but the gruff pomposity of its first theme belies a movement full of energy, lyricism and dynamic textural interest – and even a little more counterpoint though by the time it is taken over by the piano it has become heroic and triumphant. After all the minor mood of the trio it is this sense of triumph that brings the trio to a close.
I have to say that both of these trios have grown on me and while neither composer strides new paths – the Brahms Trio will be uncovering those forward peering composers in other discs of this exploratory series – they display a sure, idiomatic grasp of late romanticism and melodic invention. Very welcome discoveries.
Rob Challinor
Buying this recording via the link below generates revenue for MWI, which helps the site remain free
