TRIO LALIQUE
Photo credit: @Andrej Grilc
Described as 'superb' and 'sensational', the Trio Lalique was founded in 2022 by pianist Ilya Kondratiev, violinist Yuri Kalnits and cellist Julia Morneweg, each already a renowned chamber musician in their own right. Their debut as a group in the prestigious Pharos Arts Foundation series in Nicosia (Cyprus) was praised for its virtuosity and musical artistry alike.
Between them, they have performed as soloists and chamber musicians at many of the world’s greatest concert halls including London’s Southbank Centre, King’s Place, Zurich Tonhalle, Munich’s Gasteig, Suntory Hall and the Great Hall of Moscow Conservatoire as well as at major festivals.
Outside of their work as a trio, Ilya, Yuri and Julia also collaborate in larger chamber music formations as part of the acclaimed London ensemble ChamberMusicBox.
Trio Lalique performed an impressive programme at Chichester Cathedral, featuring Beethoven’s Piano Trio Op. 1 No. 1 and Shostakovich’s Trio No. 1. Beethoven’s work was interpreted with lightness, showcasing classical elements and rich interplay between the instruments. Shostakovich’s trio, while shorter, offered a powerful, tension-filled performance, highlighting the dramatic contrasts in his early work. Ilya Kondratiev’s remarkable piano skills and the trio’s cohesion made this concert a memorable highlight of the season.
Trio Lalique‘s programme stood out as a likely highlight of Chichester Cathedral’s autumn schedule. Heavyweight composers don’t come much heavier than Beethoven and Shostakovich, here compared through their first Piano Trios.
‘Heavy’ by way of reputation, though, not ‘heavy going’ like some one could mention. The Beethoven op. 1 no. 1 might not be quite his first work but genius comes ready-made if not yet fully formed.
The Allegro sets the predominant tone which is eine kleine Mozartian and ‘classical’, extending its six-note rising motif through Ilya Kondratiev’s tip-toeing piano. Julia Morneweg’s cello led the melodic line in the Adagio before the full trio sound was something one could never expect from a disc, especially from the third row.
The slow movements of Beethoven’s Piano Trios are worthy of special attention, with the Archduke still some way ahead in both time and timelessness and Trio Lalique caught the young man in all his relative innocence. The Scherzo and Presto were flighty exhibitions of dexterity on all three instruments, quickening captivatingly in the violin of Yuri Kalnits to an exuberant ending.
The Shostakovich Trio no. 1, op. 8, is something different entirely. If shorter in length, it is larger in conception. The hero of Russian, if not all, C20th music was 16 when he wrote it but the foundations of his compelling later work are in place.
Julia carried a romantic cello line in among the wintry shimmer but Shostakovich is nothing if not restless and there were passages of swarming, high tension before a grandiloquent tutti as the climax. I’m in less of a position to hope for more Shostakovich on our local concert circuit by now because we’ve had some this year but one can hope that a trend has been set and I’d like to draw the attention of the several fine pianists we have locally to the Preludes and Fugues.
That was truly memorable, not that anything that Chichester lunchtimes ever offer is forgettable, but it made great sense, was immaculately delivered with Ilya demonstrating remarkable reflexes in turning over his sheet music at moments of high drama and there was nowhere I’d rather have been. That is what makes these events essential.
David Green
Review: Trio Lalique | Chichester Cathedral | October 2024
Some superb playing from the Trio Lalique in an unusually full St Olave’s Tower Hill. Gathered to hear Trios by Brahms, Schubert and Shostakovich played by three refined chamber music players. An interesting juxtaposition of works from a Schubert that sounds like Beethoven and a Shostakovich that sounds like Brahms and of course Brahms …………..that sounds like ………….
Some beautiful playing with the piano lid fully opened that helped integrate the sound so well with the violin and cello. It was very interesting to hear this very early work of Schubert that although obviously influenced by Haydn and Beethoven even at this early age shows a mastery and an individual voice. It was played with charm but also with the solidity where the harmonic polyphony became so much part of its structure.
It was in the Brahms Trio though where the three artists were able to play with grandiosity and eloquence. The Andante con moto with the unison between violin and cello producing a mellow outpouring of searing intensity. There was a fleeting urgency to the Scherzo as the piano seemed to be taking wing only to be thwarted by the soaring melodic line of the violin and the sumptuous full sounds of the trio.The insinuating urgency of the Allegro giocosa lead to an ending of grandeur and nobility.
The Shostakovich was like the Schubert a very early work written when only sixteen. It already has an unmistakable voice that was exulted by the passionate virtuosity of Ilya matched by the equally inspired Yuri and Julia. All three united with passionate sounds that filled this beautiful church and brought an ovation from a public that had followed these fine performances with rapt attention.
Christopher Axworthy
%20Andrej%20Grilc-05034.jpg)
%20Andrej%20Grilc-05805.jpg)
%20Andrej%20Grilc-05512.jpg)
