Interview with Trio Dali – part 2
A glimpse at Trio Dali‘s biography is enough to dispel the impression all three of them so happily create, that playing together is effortless. Though so new on the scene, Trio Dali has already netted major prizes in competitions in Osaka, New York and Frankfurt, pursues a busy international touring schedule and lists a string of top-level collaborators.
“It has been following us since the beginning,” says Savary. “We never get bored with this music.”
“We feel connected to the French approach, somehow,” adds La Marca. “We were really attracted by all the colours, and Ravel was the perfect piece for that.”
Is there such a thing as a French school of string-playing? La Marca studied with a Swedish teacher in Cologne; Sareika comes from the sleepy seaside resort of Jurmala, a satellite of the Latvian capital, Riga.
La Marca talks about Sareika’s playing with enthusiasm.
“Her quality of sound, especially in the high register, is very delicate,” he says. “What I love about both her and Amandine is the great sensitivity that they produce when they are making music. When they perform, they play with their hearts, and it’s a sincere way of playing.”
Savary immediately returns the compliment.
“Christian-Pierre is a great musician also, full of sensitivity and musicality. When we rehearse together, we don’t need words. It’s not about playing notes or playing for the right reason. It’s just what the line is telling and what they want to say to people. And that’s music, for me.”
Sareika speaks about Savary’s playing.
“She’s so delicate, and never covers the strings. She always thinks about colours. And when she plays pianissimo, it’s just magical – it’s something completely special.”
The Trio agree that all these qualities are as applicable to Schubert or Gordon Kerry as they are to Ravel. They have all had some contact with period instruments, and they have spent time with composers, working on new music.
Musica Viva’s suggestion that they should play Gordon Kerry’s “Im Winde” fell on fertile ground.
“It’s very atmospheric music, and I had the impression that it’s music which speaks to people from the first minute,” says Sareika. “He uses interesting effects, some wonderful colours in the string writing. It’s a discovery.”
“Also working with a living composer is completely different,” La Marca says. “Sometimes you want to ask Brahms or Beethoven, ‘Please can you tell us what we should do here?'”
© Shirley Apthorp 2011