Jessica Duchen Talks to Trio Dali Ahead of Their Nationwide Tour
There’s a distinct sense of entente cordiale about the Trio Dali. The British violinist Jack Liebeck joined the French cellist Christian-Pierre La Marca and pianist Amandine Savary as the group’s new violinist in 2013, and plenty of good-natured jibing goes on while the players consider their meeting of minds. “We’re still a French group, in a way,” La Marca insists, prompting a mock-outraged “What?” from Liebeck.
Something much more important is behind this, though. “I’ve always found that cultural differences disappear when you play music,” says Liebeck. “When I’ve played with other people and there has been a language barrier, the amazing thing is that music bridges those gaps.
“Meeting ‘Crispy’ and Amandine has brought new things to my playing life, and I think my joining the trio has brought new things to them,” he adds. “It’s different voices, different ideas and ways of working. We’re all pedantic about different things. But I don’t think there is a cultural difference in terms of music.”
The original Trio Dali formed in 2006 and rapidly gained a string of prestigious prizes across three continents. Their teachers read like a Who’s Who of chamber music – Augustin Dumay, Maria João Pires, Gabor Takács-Nagy, to name but a few – and their first two recordings were showered with accolades.
Their name is only partially a reference to the Spanish surrealist artist Salvador Dali. “We met in Spain; we were looking for a name and we of course thought about the painter,” says La Marca, “but at the same we won the Osaka Competition in Japan and we wanted to relate the painter’s name to something Asian.
“Finally we found a symbolic possibility. There are some amazing marbles in the city of Dali in China – three pagodas in this city are very famous. So it’s symbolic of taking the music from the notes and creating art.” Liebeck adds: “You take the marble, you polish it and you make something beautiful.”
The trio is bringing two programmes to Musica Viva; both include the 1991 Piano Trio by the Australian composer Roger Smalley, a piece that Liebeck says he especially advocated. “I pushed for it because when I played another piece of his recently I thought it was incredibly effective and very well written for the instruments.”
“If you speak with composers, they all tell you that to write a piano trio is one of the most difficult exercises there is,” says La Marca. “It’s much more difficult than writing a symphony or a string quartet, because there is always a balance to find. And that’s a real challenge for composers. It seems that Smalley combines all the right qualities in his piece.”
Each concert is topped and tailed with masterpieces of the trio repertoire: one programme opens with Beethoven’s first published work, the E flat major Trio Op.1 No.1, and ends with the substantial Trio by Ernest Chausson; the other starts with Mendelssohn’s Trio No.2 in C minor and concludes with Schubert’s B flat major Trio No.1.
“It’s an incredible work,” says Liebeck of the Mendelssohn. “Dramatic and troubled and dark, but at the same time very romantic. The perfect piano trio, really!” Not that the Schubert is less perfect: “I always feel that Mozart and Beethoven are the greatest composers, but they’re earthy – whereas with Schubert, it’s as if he’s from space. The colours he creates are not earthbound for me; they’re up in the sky.”
“I think the Chausson is a masterpiece of the French repertoire,” says La Marca. “We are playing it for the first time this season and it’s a real challenge. We want to continue our tradition of playing French repertoire; one of the first pieces we worked on was the Fauré Trio and our first recording was an all-Ravel disc. I feel we started something very special with the sound. Amandine is absolutely extraordinary in this repertoire. So we already did the Debussy, Ravel and Fauré, but we’ve never actually played the Chausson.”
“It’s really nice for me to be able to play a piece with them that’s wonderful and French and that they love, but that they haven’t done before,” says Liebeck. “Here we can start from the beginning.” La Marca agrees: “Everyone is at the same level. And we try to shape the music together.”