United Kingdom Schubert: Nikolaj Szeps-Znaider (violin), Gautier Capuçon (cello) and Rudolf Buchbinder (piano). Wigmore Hall, London, 11.11.2024. (CSa)
Schubert – Piano Trio No.1 in B-flat major, D898; Piano Trio No.2 in E-flat major, D929
It is said that every adversity, every set-back, every heartache carries with it the seed of equal or greater benefit. One initial setback for French cellist Gautier Capuçon and Austrian pianist Rudolph Buchbinder was that the great American violinist Hilary Hahn who is still recovering from a shoulder injury, was unable to join them on their European tour to play two of Schubert’s late masterpieces – his trios in B-flat, D898. and in E-flat, D929. The ‘seed of equal benefit’ was that in her stead, the celebrated Israeli/Danish conductor and violinist Nikolaj Szeps-Znaider stepped in to complete the ensemble. Although these three outstanding soloists are not longstanding partners in a formal chamber group, their paths have crossed many times on the classical music circuit, where they have doubtless admired each other’s interpretative skills and techniques. Following acclaimed performances over the last two weeks in Munich, Vienna, Berlin and Leipzig, their appearance at London’s Wigmore Hall was little short of spellbinding – a flawless display of perfect unity, synchrony of phrasing, rich sonority and profound insight. It was as if this recently assembled threesome, so diverse in terms of nationality, background and age, (Buchbinder at 77 is some 30 years older than his partners), had been playing together for decades.
Schubert was just 30 years old when in 1827, he completed these piano trios. His untimely death was just one year away. Described by musicologist Charles Rosen as ‘monuments in the history of chamber music’ these gloriously melodic compositions have also been likened to intimate conversations, in which musical voices intermingle ‘like close friends sharing secrets’. Schubert’s irrepressibly tuneful and emotionally shifting exchanges were presented in the most finely balanced way and triggered by a nuanced means of communication – almost imperceptible nods of the head, half-smiles or raised eyebrows – between Szeps-Znaider, Capuçon and the fleet-fingered Buchbinder.
The first half of the recital featured just one work – Trio No.1 in B-flat major, D.898. The opening Allegro flowed, optimistic and serene while the reverential Andante, lively Scherzo and ebullient Rondo, subtly shaded by whispering pianissimos and insistent fortes, demonstrated par excellence the players’ wonderful dynamic control.
After the interval came the dramatic Trio No.2 in E-flat major, D.929, and a powerfully reflective account which foreshadowed the impending tragedy of the composer’s imminent demise. The bleak, dirge-like Andante con moto second movement, driven by Buchbinder’s steady keyboard rhythms, and overlaid by Capuçon’s soulful cello, evoked Schubert’s lonely traveller in Winterreise, trudging resolutely towards death. Yet the Schubertian journey undertaken in D.929, so full of heartache and savage despair and depicted with such immediacy and intelligence by Szeps-Znaider, Capuçon and Buchbinder, also contained moments of tearful joy and wild hope. Here the players embarked on a skilfully navigated voyage of emotions, at once devastating and uplifting.
Unsurprisingly, an encore was demanded. ‘They have some good composers in Leipzig’ mused Szeps-Znaider, as if to remind us of the group’s appearance at the Gewandhaus a mere twenty four hours earlier. A magical account of the Scherzo from Mendelssohn’s Piano Trio No.1 followed, ending an evening of exceptional music-making which held the Wigmore Hall audience captive – heart and soul.
Chris Sallon