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How distinctive a fortepiano can be, like this supposedly rigid, supposedly little changeable instrument is brought to life here and a convincing unity with string instruments! With the pianist Beni Araki, the violinist Christoph Heidemann and Martin Seemann at the Cello findet in the recording from 2015, it is actually a homogeneous, I feel like breathing, I feel the ensemble to one another.
Even in the smallest of melodic spaces, the energies and sounds are unfolded in a fascinating agogic. Light-footed, unpretentious, playful, the trio presents the transitions from minor to major (Elsner, Larghetto). In spite of the occasional overpowering of the piano, the vocal variety, the dramatic accents and the hammered accords in Elsner’s final movement are brought out splendidly. And Chopin’s scherzo, with its dramatic question-and-answer scenario that you know from the grand piano, is captivating in its appearance – strength of pressure, just like the almost rough way of playing in the final. The third movement, which is so delicately echoed, is torn away by the intimacy.
Many of the kind of details could be named, but what is decisive is this consistent harmony, interweaving of the
Margaux trio, which is great at skill, has specialized in works from classical and romantic era on historical instruments. No instrument is left to itself, dominates the others; Even in solo sections, all three remain as if inseparably connected, which one or the other listener may judge as not being clear enough.
The Virtuose of Chopin appears in its occasionally plucking and in it very appropriate play with highly differentiated dynamics, incredibly sculptural and lively, through weaves pale, vibrato-free passages exciting like a crime movies.
And Joseph Elsner, who had been so neglected in the (public and discographic) world of music for a long time, grew up in Poland, he was a “Schlesier” and incidentally Chopin’s teacher, Thanks to the light in the thick of the voice guide, the tight, compact reproduction by the Margaux Trio brings just this kind of listening pleasure and awakens, or maybe even more than the ETA recording with chamber music that was released a few years ago.
The well-balanced acoustics of Berlin’s Andreaskirche should also be mentioned. (Germany “Das Orchester”)
ピアノフォルテ（ハンマーフリューゲル）という楽器はなんと独創的になれるのだろうか。そして、この直接的（小さなハンマーにはフェルトでなく革が張られ、小さく側板が薄いために弦が直接的に聴こえる）で、（現代ピアノと比較して）変化をつけることの難しいと言われる楽器が、ここではなんと生命に目覚め、弦楽器との説得力のある融合を見せていることか!
ピアニストの荒木 紅、ヴァイオリンのクリストフ・ハイデマン、チェロのマーティン・ゼーマンは、全く一つに溶け合い、呼吸がぴったりと合った、そして互いに共感し合うアンサンブルをこの録音で聴かせてくれる。
ほんのささやかなメロディーの中にもエネルギーとワクワクするような魅力的なアゴーギクの響き（サウンド）が広がっている。
エルスナーの緩徐楽章で、このトリオ（マルゴー ）は短調から長調への移り変わりを機敏さ、謙虚さ、そして遊び心を持って表現している。エルスナーの終楽章では、時にピアノが優勢になるにも拘らず、声部の交替、ドラマティックなアクセント、そして文字通りハンマーで打たれた和音が、絶妙に効いている。
また私たちがモダンピアノでおなじみの、ショパンのドラマティックな「問答場面」、スケルツォ、緩徐楽章から終楽章への移行においてのうっとりするような親密で柔らかく消え入るような表現、そして殆ど荒々しいとも言えるフィナーレなど、随所に彼らの表現力の強さに堪え難い魅力が感じられる。
多くのこのようなディーテイルを引き合いに出すことができる。決定的なのはやはり、古典派とロマン派の作品を古楽器で演奏することに精通したトリオマルゴーの首尾一貫した調和と互いの織りなす絡み合いだろう。どの楽器も独りよがりに走ったり他を押しのけたりすることもない。独奏的な場面でも３人皆が離れることなく繋がっている～こんなことは、ともすると聴き逃してしまいそうなことだ。
ヴィルティオーゾなショパン は、最大限に違いが表現されているダイナミックを持ってして、時には荒々しく、時には適度に穏やかに、非常に鮮やかで生き生きとした、随所にヴィブラートのかからない演奏スタイルで現れる。それは非常にエキサイティングで、まるで推理映画を観ているようだ。そしてまたこれまで（出版でも録音においても）音楽界で継母扱いされてきた、シュレジア出身でポーランドに帰化したショパンの師ヨーゼフ・エルスナーが、トリオマルゴーの集中度の高い演奏によってに日の目をみることになった。
彼らは何年か前にもE. T. A. ホフマンの室内楽を録音し埋もれた魅力を引き出しているが、今回はさらに多くの聴く楽しみと目覚めが実現している。(ドイツ ダス・オーケストラ誌）
…..Grazie anche all’esecuzione degna di tutte le lodi possibili del Trio Margaux, l’opera di Elsner ci fa ca- pire come la musica di quel periodo sia conosciuta ancora troppo poco, e quanto il mondo musicale che cir- condava Mozart e Haydn (e, si e` vi- sto, il giovane Beethoven) merite- rebbe di essere studiato, eseguito e di nuovo ascoltato piu` diffusamen- te, con orecchie aperte a coglierne le bellezze, le problematiche, i di- lemmi, le ambizioni o le finalita` che quei musicisti si prefiggevano, le quali non erano mai banali come ci hanno – ahinoi – insegnato sbrigati- vamente a credere.
Elsner ebbe tra i suoi molti allievi anche Chopin, il quale compose il suo Trio (in seguito pubblicato co- meopus8)trail1828eil’29:si trattava di un saggio scolastico, nel quale il giovane compositore s’inge- gno` a mostrare la padronanza delle forme classiche, come richiesto a uno scolaro: ma il talento di colui che avrebbe indirizzato su nuove vie la storia del pianoforte romanti- co emerge gia` nitido e compiuto. Anche in questo caso l’esecuzione intelligente, competentissima, di quasi risorgimentale slancio non e` estranea all’apprezzamento dell’o- pera che viene come ricollocata storicamente nel periodo della sua composizione. Non e` la prima volta che Chopin viene sonato su stru- menti dell’epoca, ma in genere ci si rivolge a pianoforti francesi degli
anni Quaranta; qui, invece, viene utilizzato un fortepiano Fritz (dun- que con la piu` delicata meccanica viennese) del 1820 circa. Un piano- forte accordato per le musiche « do- mestiche » di uno Schubert (le Dan- ze galanti, i due Scherzi, i primi ci- cli di Variazioni…) che le richieste tecniche gia` di quello Chopin poco piu` che adolescente mettono a dura prova. Si sentono le corde stridere sotto i martelletti tempestati da quei violenti accordi, dagli arpeggi brucianti o dalle scale vertiginose della scrittura chopiniana (ma il tocco perentorio di Beni Araki non involgarisce mai) e si vive il formar- si sul campo di una nuova poetica, insofferente dei limiti fisici degli strumenti di cui disponeva.
Violino e violoncello soffrono me- no, potendo cosı` librarsi al loro canto angelico, cos`ı tipicamente chopiniano, ad imitazione – e` noto – delle infinite cantilene di Bellini, il nuovo eroe dell’Opera romantica. Anche questo contribuisce a fare del disco un gioiello di pregio raro. (“MUSICA “Nr.284)
…..Thanks also to the performance worthy of all possible praise by the Trio Margaux, Elsner’s work makes us understand how the music of that period is still too little known, and how much the musical world that surrounded Mozart and Haydn ( and, we have seen, the young Beethoven) deserves to be studied, performed and listened to more widely, with ears open to grasping its beauties, problems, difficulties, ambitions or the purposes that those musicians set themselves, which were never trivial as they – alas – hastily taught us to believe.
Elsner had among his many pupils also Chopin, who composed his Trio (later published asopus8) between 1828 and 1929: it was a scholastic essay, in which the young composer tried to show mastery of classical forms, as requested of a schoolboy: but the talent of the one who would have directed the history of the romantic piano on new paths already emerges clear and complete. Also in this case, the intelligent, highly competent execution of almost Risorgimento momentum is not extraneous to the appreciation of the work that is historically relocated in the period of its composition. It is not the first time that Chopin has been played on instruments of the time, but in general we turn to French pianos of the forties; here, on the other hand, a Fritz fortepiano is used (therefore with the most delicate Viennese mechanics) from around 1820. A piano-forte tuned for the “domestic” music of a Schubert (the gallant dances, the two Scherzi, the first cycles of Variations …) that the technical requirements of that Chopin little more what a teenager they put to the test. You can hear the strings screeching under the hammers studded with those violent chords, the burning arpeggios or the vertiginous scales of Chopinian writing (but the peremptory touch of Beni Araki is never vulgar) and one experiences the formation on the field of a new poetic, intolerant of the physical limitations of the tools at his disposal.
Violin and cello suffer less, thus being able to soar to their angelic chant, so typically Chopinian, in imitation – as is well known – of the endless chants of Bellini, the new hero of the Romantic Opera. This also helps to do
of the disc a jewel of rare value. (Italy “MUSICA” Nr.284)
………….トリオマルゴーのすばらしい演奏は、エルスナーの時代の音楽（モーツァルトやハイドンを取り囲んでいた音楽）を私たちに教えてくれる。………私たちが今まで信じさせられてきたつまらない音楽ではない。………ショパンのトリオも優れた演奏で、大変よく研究されており、作曲された時代を単に賞賛するというのではなく、復興をうながすかのようである。この曲は今までピリオド楽器で弾かれていないわけではないが、その多くは40年代のフランスを意識した楽器によるものである。今回使用された楽器はヨハン・フリッツ、1820年ごろのウィーン製。野蛮な和音が嵐のように繰り返されるハンマーの下の耳障りな弦の音や目の回るショパン 風スケール（荒木紅の確実なタッチで決して俗っぽくならない）は、この楽器の物理的な限界間際で、この音楽の新し
い詩の域に息をふきこんでいる。
（イタリア MUSICA誌）
……Le bien-nommé Allegro con fuoco plonge l’auditeur dans un romantisme échevelé. Un pianoforte à l’articulation soignée favorise ce climat, car la résonnance typique de la corde n’occasionne pas de rupture avec les deux instruments qui l’accompagnent. Plus classique, le Scherzo avance, fluide et gracieux, sans jamais s’alanguir, tout comme l’Adagio qui s’ensuit. On apprécie le grain du violoncelle dans un mouvement où pointe l’influence du bel canto, cher à Chopin. Enfin, il semble que Brahms s’annonce dans le Finale très polonais, ouvert par une mazurka de caractère au clavier.
(“ANACLASE”)
…..The aptly named Allegro con fuoco plunges the listener into wild romanticism. A well-articulated pianoforte favors this climate, because the typical resonance of the string does not cause a break with the two accompanying instruments. More classic, the Scherzo moves forward, fluid and graceful, never languishing, just like the Adagio which follows. We appreciate the grain of the cello in a movement that highlights the influence of bel canto, dear to Chopin. Finally, it looks like Brahms is shaping up in the very Polish Final, opened with a character mazurka on the piano. (France “ANACLASE”)
…….非常に洗練されたピアノフォルテのアーティキュレーションにより、ピアノとガット弦の独特の響きが良く融け合い、ショパンの、情熱的な若々しいロマンティシズムがを表現することに成功している。…….スケルツォの古典派を感じさせる明るい優美な流れや、モダン楽器よりテンポは速いにも拘わらずベルカントで歌われるアダージオ、…冒頭のキャラクター豊かなピアノソロのポーランド舞曲で始まりブラームスさえ思い起こさせるフィナーレなど最初から最後まで初期ロマン派を存分に楽しめる秀作である。
(フランス ANACLASE誌)
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