Chausson: Trio for Piano, Violin and Cello (CD review)
Also, Ysaye: Poeme Elegiaque and Meditation-Poeme. Bruno Monteiro, violin; Miguel Rocha, cello; Joao Paulo Santos, piano. Etcetera Records KTC 1729.
By John J. Puccio
Some of you may know the work of violinist Bruno Moneiro from his record albums, others from his many personal appearances, and yet a few more from my several reviews of his previous CD’s. For those who aren’t quite familiar with him yet, let me remind you. The weekly Expresso describes him as “one of today's most renowned Portuguese musicians.” He is internationally recognized as an eminent violinist.” Fanfare says he has a “burnished golden tone” and Strad comments on his having “a generous vibrato” producing radiant colors. Music Web International refers to his interpretations as producing a “vitality and an imagination that are looking unequivocally to the future” and that reach an “almost ideal balance between the expressive and the intellectual.” Gramophone praises his “unfailing assurance and eloquence,” and Strings Magazine notes that he is “a young chamber musician of extraordinary sensitivity." So, yes, he is very, very good.
Joining Mr. Monteiro on the present album is pianist Joao Paulo Santos and cellist Miguel Rocha. Together, they make some very, very good music.
The program begins with the Trio for Piano, Violin and Cello in G minor, Op. 3 by French composer Ernest Chausson (1855-1899). He wrote the piece early in his short career, while still in his mid twenties and just after studying music with Jules Massenet and Cesar Franck. Chausson did not produce an abundance of music during his brief lifetime--thirty-nine published works in all--but they were all imaginative, original, and enchanting. While he is probably best known for the Symphony in B-flat, the symphonic poem Viviane, and the Poème for violin and orchestra, his Trio is certainly another piece to be reckoned with. Indeed, it is considered by many listeners as one of Chausson’s best small-scale chamber works.
The Trio opens with a lyrical, gently rhythmic introduction before turning to a more-animated theme. The three players here maintain a strong chemistry, the violin taking the lead, with the accompanying piano and cello alternating and intertwining in cyclic variations or patterns of spirals. The performers are uniformly vibrant in their interpretation, with Monteiro’s violin an impressively solid mainstay throughout. The second movement also starts gently, then picks up a head of lighthearted steam as the instruments pursue one another around the score. It’s all quite delightful, actually, and leads into the third, slow movement. Here, it’s the piano that takes the forestage, with the violin and cello then joining in a plaintive call. It’s a lovely, poetic interlude that recalls the music of some of Chausson’s acquaintances--Massenet, Franck, and Faure in its graceful, flowing tones. It also displays the talents of Monteiro, Santos, and Rocha and their ability to smoothly meld into one. Then the Trio ends with a sprightly animated and playfully spontaneous finale that wraps up the whole work in fine fashion, the players ready to take their well-deserved bows.
Accompanying the Trio are two short pieces by one of Chausson’s contemporaries, Belgian violinist, conductor, and composer Eugene Ysaye (1858-1931). Fans called Ysaye “the king of the violin,” and, in fact, Chausson considered him to be the best interpreter of his work he’d ever heard. On the present album we have the Poeme Elegiaque for Violin and Piano, Op. 12 (later orchestrated but here done in its original form with Monteiro and Santos) and the Meditation-Poeme for Cello and Piano, Op. 16, with Rocha and Santos. They’re both sweet, enjoyable pieces, the Meditation a little more melancholy than the Elegy, and both played with a fine, delicate poise.
Producers Bruno Monteiro and Dirk De Greef and engineer Jose Fortes recorded the music at Igreja da Cartuxa, Caxias, Portugal in September 2021. As with most small-ensemble recordings, this one is relatively close, providing good, clear detail. Yet there is a mild hall resonance to add warmth to the sessions. As we might expect in the Violin Trio, the violin is the dominant but not overpowering sound.
JJP
John J. Puccio, Founder and Contributor
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing for the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl Nehring, Editor and Contributor
For nearly 30 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2024 Honda CRV Sport L Hybrid, I stream music from my phone through its adequate but hardly outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through a Roku Streambar Pro system (soundbar plus four surround speakers and a 10" sealed subwoofer) that has surprisingly nice sound for such a diminutive physical presence and reasonable price. Finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker and a pair of Google Pro Earbuds for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technologies that enable us to enjoy it in so many wonderful ways.
William (Bill) Heck, Webmaster and Contributor
Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.
The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.
Ryan Ross, Contributor
I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.
I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
Mission Statement
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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Some of you may know the work of violinist Bruno Moneiro from his record albums, others from his many personal appearances, and yet a few more from my several reviews of his previous CD’s. For those who aren’t quite familiar with him yet, let me remind you. The weekly Expresso describes him as “one of today's most renowned Portuguese musicians.” He is internationally recognized as an eminent violinist.” Fanfare says he has a “burnished golden tone” and Strad comments on his having “a generous vibrato” producing radiant colors. Music Web International refers to his interpretations as producing a “vitality and an imagination that are looking unequivocally to the future” and that reach an “almost ideal balance between the expressive and the intellectual.” Gramophone praises his “unfailing assurance and eloquence,” and Strings Magazine notes that he is “a young chamber musician of extraordinary sensitivity." So, yes, he is very, very good.
The Trio opens with a lyrical, gently rhythmic introduction before turning to a more-animated theme. The three players here maintain a strong chemistry, the violin taking the lead, with the accompanying piano and cello alternating and intertwining in cyclic variations or patterns of spirals. The performers are uniformly vibrant in their interpretation, with Monteiro’s violin an impressively solid mainstay throughout. The second movement also starts gently, then picks up a head of lighthearted steam as the instruments pursue one another around the score. It’s all quite delightful, actually, and leads into the third, slow movement. Here, it’s the piano that takes the forestage, with the violin and cello then joining in a plaintive call. It’s a lovely, poetic interlude that recalls the music of some of Chausson’s acquaintances--Massenet, Franck, and Faure in its graceful, flowing tones. It also displays the talents of Monteiro, Santos, and Rocha and their ability to smoothly meld into one. Then the Trio ends with a sprightly animated and playfully spontaneous finale that wraps up the whole work in fine fashion, the players ready to take their well-deserved bows.
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