The Benaud Trio is known for, among other things, its cheeky encores (‘Bohemian Rhapsody’, ‘Stairway to Heaven’) and its economical practice of presenting two concerts on the same day.
But more than that, the Benauds – pianist Amir Farid, and brothers Lachlan Bramble (violin) and Ewen Bramble (cello) – are respected for their mastery of a wide repertoire, including Australian works. However, their first concert for the year was a celebration of French chamber music, with two works on the program, and an encore that prolonged the Romantic enchantment a little longer.
The Piano Trio No.1 in F major, Op18 by Saint Saens began with an Allegro, the cello warmly introducing the first subject, soon echoed by the violin and piano. Before long, the three had achieved the rich quasi-orchestral sound that is the mark of the Benauds. Farid seized the opportunity to show his mastery of long keyboard runs, with the strings keeping pace.
The cello again came to prominence in the reprise of the main theme, but the impression was of the three instruments playing as one. Saint Saens’ flowing melodies filled the acoustically beautiful Salon, and the movement ended with such a flourish that some of the audience were tempted to applaud.
The Andante had the piano articulating the melody, then joining the cello in providing rich harmony for the violin as it developed the theme. The cello was soon to come to the fore with beautiful resonance and, after the briefest exchange of glances, the trio focused on a passage that called on Farid’s musicality and technical prowess. An allegro moderato passage was so smooth it seemed effortless and the switch in tempo back to andante was faultless, as the movement ended.
A playful piano and pizzicato violin gave the Scherzo a lightness that belied its difficulty. Syncopation suggested a dance like a reel, as Farid eased his way through a seemingly endless series of arpeggios and trills to a surprisingly understated end.
It was in the final Allegro that all three players consolidated their reputation as a very fine ensemble. You could note the balance between players and texture of the sound – but really, this was simply music that captured your attention. Key changes led to a dramatic finish that brought out the best in each player.
The strings needed tuning after the Saint Saens workout, but were soon put to rigorous use again in Ravel’s Piano Trio in A minor – not before an opening of great power and beauty. This work of full-blown Romanticism saw each instrument explored in terms of range and capability, from spare solo passages to the almost florid sound and emphatic rhythms of the Pantoum (assez vif).
This was followed by the Passacaille, marked ‘tres large’ but with a simplicity that revealed its Baroque inspiration. It also provided another opportunity to enjoy the performance of each instrument, as in the balanced violin/cello duet, and the solo piano to end the movement. The appreciation of these elements was heightened by the Finale, which was all exuberance and brilliance. Yet even with each player showing his own virtuosity, it was the performance of the Benaud Trio as a whole that made this a thrilling end to the concert.
Well, not quite. There was an encore – not ‘out there’ but quite predictable, if you thought about it. And none the less welcome for that. Ravel wrote Pavane pour une infante défunte (Pavane for a Dead Princess) for solo piano, but over the years it has had many adaptations and arrangements (including by the composer).
The Pavane is not depressing, as its title might suggest, but rather a work of restrained beauty in its melody, rich in harmony and – in the hands of the Benaud Trio – the perfect end to an afternoon with the French Romantics.
Rating: 4 stars out of 5
Benaud Trio: French Connection
Pianist: Amir Farid
Violinist: Lachlan Bramble
Cellist: Ewen Bramble
SAINT SAENS Piano Trio No.1 in F major, Op.18
RAVEL Piano Trio in A minor
Salon, Melbourne Recital Centre
9 February
