Musica Viva’s first Sydney concert to present The Eggner Trio was a successfully constructed programme. There were satisfying cross-references between the works. The concert also celebrated some key aspects of the streamlined piano trio genre and the rewarding nature of chamber music itself.
The Eggner brothers’ musical empathy was excellent. This innate quality, combined with their enthusiastic interpretations and fine musicianship resulted in piano trio music of a very high standard.
This ensemble had a very secure blend at all times. The City Recital Hall resonated with the Eggner Trio’s full tone in unison moments as well as the smooth movement of musical conversation across the ensemble.
In all Musica Viva International Series concerts the visiting artists are encouraged to perform an Australian work.
The Eggner trio performed Dulcie Holland’s Piano Trio (1944). In the seventieth anniversary year for Musica Viva, this choice was a highlight. To have the chance to hear this rarely heard chamber work by the musical educator, writer on music and composer whose work guided many Australian music students in the past was a genuine treat.
The contrasts and well-graded series of climaxes within this interesting and concisely structured work were endearingly presented by the Eggner Trio. The trio’s special eloquence and seamless wash of integrated colours complemented the sincerity of this refreshing work which is full of character.
This performance left us wanting more Dulcie Holland in future concert events, especially as this native work received its first public performance some forty seven years after composition.
Also interestingly programmed in this concert was another rarely heard work, also premiered years after its composition. The Piano Trio in G minor Op 17 (1846) by Clara Schumann opened the concert and introduced us to her compositional style. It was rewarding to hear a work from this composer who was such a solid exponent for the standard structural traditions of the time. Clara Schumann’s substantial first movement form was perfectly delineated by the Eggner brothers.
Glimpses of Clara Schumann nee Wieck’s capable pianism were handled with appropriate excitement or delicacy by Christoph Eggner. Christoph’s performances as the trio’s pianist were always finely balanced with his brothers’ fine string mix. This was noticeable in the unfolding of this opening trio and the remainder of the programme.
After interval, the Eggner Trio dazzled the assembled with a consummate and moving performance of a work by Brahms, who was a close friend of Clara Schumann’s and who wrote his first piano trio composition almost a decade after hers.
In the Brahms Piano Trio No 1 in B major Op 8. (1854) the Eggner Trio showed a strong commitment to the soaring nature of this work and an ability to answer Brahms’ demands on the individual performer and the full trio alike.
The lush tone colours required by Brahms’ unique Romanticism were always provided by this trio’s members. Their communicative skills already displayed in the concert ensured this work’s depth and beauty emerged with confidence and elevated tone at all times.
From this trio’s opening, the work of cellist Florian Eggner provided an exquisitely warm lyricism and pleasing interplay with piano and violinist Georg Eggner. This work proceeded to unfold with a balance between drama and intimacy, delighting the audience with nicely executed contrasts and continued ensemble excellence. It was a precise, detailed celebration of a youthful Brahms’ debut composition in this intense genre.
The Eggner Trio’s charismatic performance style and successfully measured sense of ensemble can be heard once more in Sydney during this tour. They play will be playing a program of music by Dulcie Holland- Piano Trio, Anton Dvorak Piano Trio No 4 in E Minor Dumky op 90 and R. Schumann Piano Trio No 3 in G Minor, op 110 in a matinee performance at again at the City Recital Hall Angel Place this Saturday at 2pm.
http://www.cityrecitalhall.com.