Środa, 29 marca, 2023   I   09:38:13 PM EST   I   Marka, Wiktoryny, Zenona
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Let them regret it!

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It is no secret, that the chamber music concerts do not attract large audiences. That was evident at the November 4th concert in Torun featuring the Waterville Trio, with Hélène Jeanney (piano), Hanna Lachert (violin) and Qiang Tu (cello).

Only a small number of listeners showed up, yet they were not sorry! The Rachmaninov Trio in G Minor sounded magnificent: Jeanney was in complete control of every note and took great care in balancing the dynamics. The pianist consciously remained in the shadow of her musical partners, trying not to impose “pianist” tricks on her listeners (beautiful collaboration in the first theme of the first movement). Jeanney represents a modestly noble style of music-making, winning the audience with her concentration of thoughts and emotions. However, in the dramatic climaxes she also knew how to take flight, and proved it more than once in the well- balanced massive chords of the trio’s second theme. The finale (Allegro risoluto) was also a great virtuoso showcase, where the texture
interweaves thick and sonorous chords with broad configurations.

Hanna Lachert demonstrated an excellent leadership, striving to balance emotion and intellect. Captivating phrasing, beautiful tone quality, always polished phrases and impeccable intonation – these are only some of the violinist’s virtues revealed in the exposed parts of Piotr Lachert’s 25 Sonata “Le Coucou’. The piece wins over with melodic invention and rhythmical fantasy. The 1st, 3rd and 5th movements are fast, spectacular and virtuosic showcases. The remaining two movements with charming titles “nie tak” and “znowu nie tak” (“not so” and “again not so”) were performed accordingly to their juxtaposed and witty character.

I was also entranced with the cellist Qiang Tu, admiring his beautiful cantilena and vivid and colouristically varied phrase line (2nd movement of Rachmaninov). In the ensemble one senses the mutual inspiration and total understanding between the players. Barely in a few fragments there occurred slight rhythmical imperfections, for example in the finale of Beethoven’s Trio in E flat Major op.70/2. But one forgets quickly those miniscule trifles. All who did not attend this concert should regret they hadn’t.

Translation from the Polish periodical “Ruch Muzyczny” (Musical Movement) by Hanna Lachert