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.”
Trinity College Cambridge is an extraordinary institution, the alumni of which constitute a potted history of European civilisation. Science features high on the list with names like Isaac Newton, Niels Bohr, Lord Rayleigh and Charles Babbage, and since 1900 no fewer than 32 members of the college have received Nobel Prizes. But it’s hard to overlook other graduates like Francis Bacon, Bertrand Russell, Rajiv Gandhi, Wittgenstein, John Dryden, Lord Byron, Alfred Tennyson, A.A. Milne and Vladimir Nabokov, to name just a few. It is fair to say that places at Trinity are keenly sought by the brightest students in the world.
From this heady mist of history and achievement emerges an extraordinary choir led by one of the great choral directors of our time, Stephen Layton, who chooses choristers on the basis of their passion and intelligence as much as for the qualities of their voice. The result is striking, marked by an overwhelming sense of musical intelligence that can almost be touched, with all of the requisite sensitivity and finesse to complete the picture.
This sensational group tours Australia for Musica Viva in July and August. In the spirit of capturing everything imaginable in the realm of choral music, Stephen has chosen for the tour a program spanning four centuries, from the immaculate marvels of Tallis and Byrd through to the modern Europeans, Rautavaara and Ešenvalds, we are granted an elite journey through the director’s musical universe. One path leads to “Wings of the Wind” composed by the college’s own organ scholar, Owain Park, who is rapidly emerging as a significant force in modern choral music.
The highest path on our expedition leads to the newest music on the program – the world premiere of a new work by Australian composer Joe Twist, “Hymn of Ancient Lands”, commissioned by Mary Pollard and family expressly for this concert tour.
Carl Vine AO
Touring Australia 17 July – 4 August. Book your tickets here: musicaviva.com.au/trinity
When you walk into the chapel of Trinity College Cambridge, you find yourself face to face with some of the greatest figures in UK history. Statues of the college’s most famous alumni stand near the entrance, among them Sir Isaac Newton and Alfred, Lord Tennyson; and the cool marble and warm wood of the chapel creates a glowing ambience in which the institution’s internationally celebrated choir rehearses and performs the music of composers such as William Byrd, Thomas Tallis and Henry Purcell – and many more.
If Trinity’s past is top-notch, so is the present. State-of-the-art technology now makes it possible for the choir to webcast its performances live online; and its recordings, too, are made here, allowing the choir to be heard in commercial releases that capture the purity and richness of its sound and the atmosphere of its home enviornment.
The choir’s director, Stephen Layton, has an unrivalled reputation among conductors from the British choral tradition; indeed, you quickly realise that when he says that this music gives him “a reason to live”, he is not exaggerating. Born into modest circumstances on a council estate, Layton became a chorister at Winchester Cathedral as a young boy; later he won a full music scholarship to the famous Eton College and thence became organ scholar at King’s College, Cambridge.
“Choirs like those in Oxford or Cambridge colleges and in cathedrals are singing, on a daily basis, music that’s been written over 5-600 years: music that’s always been there and is always happening,” Layton says. “It can’t be preserved just by manuscripts, it’s got to be preserved by performances.”
Relatively unusually, Trinity College’s choir of 30-odd students and young choristers includes girls as well as boys; and the selection of new students to join the ensemble depends, Layton says, on their mental agility, their commitment and their willingness to learn.
“I am looking for people who are quick-witted and sparky – and that doesn’t necessarily correlate to having a fabulous voice,” he says. “They might have a decent or average voice; there will always be some who have great voices, and you need that. But this is about teamwork. If you were to have a choir of Pavarottis, for instance, you’d have a terrible choir! I’m looking for interesting characters who will come together to make interesting music. It’s their interest and their imagination that’s the primary thing.”
Touring Australia with an ensemble of 30 young people might sound like a logistical challenge, but Layton’s enthusiasm proves that there is plenty to thrill them. “For some, it will be the first time that they’ve gone that far away from home. And I think for people from the UK there’s definitely a sense of wonder and excitement about travelling to that part of the world, certainly for a young person going for the first time. It doesn’t get much better than staring out from Circular Quay into Sydney Harbour.
“I enjoy going to Australia because I love sharing British choral music with audiences and I want to advocate the music that’s come from this country,” he adds. “It’s an extraordinary thing to walk onto the stage of a big Australian concert hall in front of 2,500 people and sing Tallis and Byrd. That’s what I live for, and in a way the further away and more different the place is, the more exciting it becomes.” He adds: “There are also some extremely good Chardonnays from the Margaret River area!”
The choir’s eclectic programme extends from the great Renaissance works of Byrd and Tallis through Purcell, Elgar and Herbert Howells to the substantial Mass by Frank Martin, which forms a centrepiece; then there are contemporary works by such luminaries as Arvo Pärt, Ēriks Ešenvalds, Einojuhani Rautavaara and Eric Whitacre, a specially commissioned piece by the Australian composer Joe Twist, and one by Trinity College’s young organ scholar, Owain Park, who, remarkably, already has a publishing contract with Chester Novello.
The programmes, Layton says, aim “to draw together the old and the new – and to confuse the boundaries between them. I find that a fascinating journey. That is why we begin with the music of Pärt; he’s a very interesting figure whose approach combines elements of old and new. I believe that in 100 years time we’ll look back at Pärt and see that he was actually a father figure for a certain soundworld that has lived on and that people will want to hear forever. It’s very appropriate that he should kick off a programme celebrating the fusion between what we’ve had, what we’re having now and, indeed, what lies ahead.”
The Choir of Trinity College Cambridge tour Australia 17 July – 4 August. For more information, and to book your tickets, please visit: www.musicaviva.com.au/trinity
British-Australian pianist Stephen Hough undertakes his third national concert tour for Musica Viva in April and May. His recitals are invariably distinguished by a surprising blend of the cerebral and the visceral – music that engages the heart as well as the mind, and that is delivered with precise yet entirely organic artistry.
On this concert tour Stephen’s program focuses on a trinity of his favourite composers, Schubert, Franck and Liszt. Schubert’s A minor Sonata D784 is in three movements, as is Franck’s Prelude, Chorale and Fugue, and these two works form for Hough a linked musical journey from darkness to light.
It is easy to forget the seminal influence that Liszt’s music had on the evolution of compositional technique in the 19th century. Like Hough, Liszt was a remarkable pianist as well as an extraordinary composer, and his music has inspired Stephen as a committed advocate of its performance, as well as by the craftsmanship of its structure.
The glue of the program is Stephen’s own Third Piano Sonata ‘Trinitas’, inspired by the importance of the number three within his Catholic faith, and how ‘trinity’ in the church might also possibly relate to 12-tone serialism in music. As one should always expect with this surprising musician, matters of the intellect are bound to resonate with the emotional and the personal in his perpetual search for the transcendental.
Carl Vine AO
Stephen Hough tours Australia 14 April – 2 May 2016. Book your tickets here: musicaviva.com.au/hough