Trio Vitruvi Make a Rapturously Vivid North American Debut at Carnegie Hall
It’s hardly realistic to expect a Carnegie Hall concert, let alone one that’s sold out, to be intimate. Yet the Trio Vitruvi’s American debut there this past week was exactly that. It was also intuitive and full of vivid narratives, tracing a rewarding historical path. And the virtuosic aspects of the performance were often downright breathtaking. (Lucid Culture)
The full musical and emotional range and ambiguity of this extraordinary work of genius becomes clear after listening a number of times to this superb new disc from the Danish group Trio Vitruvi. The group uses the Bärenreiter Urtext edition of the work, which contains additional material not included in the version published in 1828 (which was incidentally the only publication of any of his works outside of Austria during the composer’s lifetime). And their passionate, controlled performance contains all of the musical innovation and emotional nuance that Schubert had developed in a lifetime as a composer, short as it was.
(Music For Several Instruments Blogspot)
The young musicians of Denmark’s Trio Vitruvi made a smashing U.S. debut at Carnegie Hall’s Weill Recital Hall … Challenging music by Schubert, Shostakovich, and Dvořák showed off the trio’s lofty technique and highly developed collective musical expressivity. Even from a much more established ensemble – the trio of violinist Niklas Walentin, cellist Jacob la Cour, and pianist Alexander McKenzie formed only in 2013 – it would have been a most impressive performance.
(Jon Sobel, Blogcritics)
These are clearly virtuoso performers who have their own take on this music.
(Lynn René Bayley, The Art Music Lounge)
Despite their impressive solo credentials, it’s the mix that matters with a piano trio and that is evident at once, and not just on their impressively engineered debut CD of Schubert’s E Flat Trio for the Bridge label that arrived on my desk last week. This substantial work – given in the rare Bärenreiter Urtext edition that includes a few hundred missing bars in the final movement – took up the whole of the first half of the generous program and allowed the Vitruvians to show their Viennese poise …
That classical elegance turned out to be a surprising asset in Shostakovich’s First Piano Trio….Watertight ensemble playing helped them to fizz through the crazy Keystone Cops chases, while by contrast the cello was especially eloquent in the big, impassioned central section, an emotional high point offered with a sincerity that all three players clearly bought into.
Dvořák’s Dumky Trio completed the program, a tough nut to pull together for a young trio, yet seeming a walk in the park for these three….. the helter-skelter gypsy shenanigans came off with passion and flare thanks to rock-solid technique from all three underpinned with iron discipline….It’s the mix of tipsy fiddle, Czech folk and soulful love songs across six movements that make this work among its composer’s most original utterances, and the Vitruvians’ ability to switch from one mood to the other, while never losing the sense of shared communion, that made this such a satisfying finale to an auspicious Carnegie Hall debut. This is certainly an ensemble to watch out for.
(Clive Paget, Limelight)