Classical-contemporary musical sandwich launches Trio Isimsiz on Musica Viva tour at Subiaco’s Regal Theatre

A classical-contemporary musical sandwich with a side of choc bombs and canned wine — Musica Viva’s tour launch for Trio Isimsiz at Subiaco’s Regal Theatre challenged convention, bringing chamber music to a cinematic venue on Tuesday night. Violinist Pablo Hernan Benedi, cellist Edvard Pogossian and pianist Erdem Misirlioglu made the most of a curiously intimate space pressed into service during the temporary closure of Perth Concert Hall. Brahms’ Piano Trio in C minor opened in dramatic attack from all parts, resolving to bright chords then piano melody punctuated by strings; setting a lively tone for the night. Violin and cello quickly found a common earthy timbre while piano sparkled in contrast. Closely concerted phrasing could have been scripted for a movie score in this art deco picture house, with tension built then released in crisp time. Trio Isimsiz left no doubt this was happy Brahms, full of joie de vivre and love of nature in the Allegro energetico first movement, with a lavish flourish to close. The Presto non assai second stanza matched its label, with relaxed bursts mixing vim and whimsy in alternate pizzicato flurries and warm melodic flows, down to a gentle cadence. Euphony ruled the Andante grazioso third movement, a comfortable piano figure breaking to a more febrile theme with encouragement from strings, then resiling to the stately pace of the opening. The Regal lent itself well to this delicate touch, with only a jump-cut cadence to break the lullaby calm. Renewed endeavour broached the Allegro molto finale. Rumbling piano fuelled caprice in strings as each exchange upped the ante for expression and effort, leading in a vigorous romp towards a lively exit and enthusiastic applause. To follow, Pogossian gave fair notice that the Australian premiere of Francisco Coll’s Piano Trio (2020) would offer “a unique language”. “We are the only people who have ever dared play it,” he said. Fragments of melody and harmony pinged between the threesome as if each tried to finish the others’ sentences. High harmonics offset an offbeat cacophony in mid-range, breaking suddenly to a mystic soundscape in the subsequent theme. In the second movement — like the others, untypified as to tempo or mood — the gymnastics seemed to repeat in slow motion, with strings keening softly over broken piano rhythm. More vigorous bowing boosted the volume then fell away to more meandering; meditative yet moving. Turbulent moods rolled through like dreams in sleep, hardly touching the sides yet leaving a clear imprint. Piano staged a revival but languid strings seemed to claw back control, sonorous and assertive in equal measure. Piano nevertheless regained the initiative, persisting through melodic flourishes to a quietus passed to cello in solemn, plangent tones. A brief pause revived the dystopian ambience of the opening, with distemper in piano and tragedy in strings wringing out an unresolved conflict. Reflection turned gradually towards a macabre dance measure that ran away in glissando swooning to the untruly passion of a tango. Flashes of fire met slow-burn drive in furious agreement, fading to a handshake at the close. Choc bombs and canned vino stirred conversation in the interval before Schubert’s sweetly harmonious side showed through his Piano Trio No.1 in B-flat; a far more collegial affair. Melody echoed lyrically around the group, settling in a duet then a trio, with each taking the lead in turn. Isimsiz seemed freer now, perhaps escaping the shadow of expectation cast by Coll’s premiere. Broader tone filled the air through each dramatic twist and turn, replete with Romantic aspiration. Dynamic range also seemed to expand; another sign of a relaxed ensemble. The Andante second stanza dawned serenely in a piano-cello duet, answered by violin; each slipping into their role as surely as fingers in a glove. Lilting lines interwove with the ease of long practice, puckering up for a change of pace then settling to a dance; soothing with a blissful cadence. The Scherzo-Allegro third movement skipped across the stage from piano to strings and back, folkloric and fancy-free. Moments of concern melted to playful insouciance; each climax dissolving to exquisite charm. Barely missing a beat, Isimsiz stepped briskly into the Rondo finale, an essay in elegant elan. The musicians rose to the challenge, fresh in expression and precise in technique through multiple interations of the theme to the last decisive dismount.