The quintessence of chamber music

7 Feb 25

… The three players of the Gould Trio (Lucy Gould, violin; Richard Lester, cello; Benjamin Frith, piano) play with real assurance, but also impart a spark that is reminiscent of live performance (this is in fact a studio recording from Wyastone Concert Hall, Monmouth, put down in November 2023).

“Gould’s high register is miraculously sweet, dialogue between violin and cello is a delight, and Frith’s piano playing alternately glowers and sparkles.”

What a joy for all lovers of Romanticism this is… you’ll be hooked. Frith’s technique is superlative…

The Gould Piano Trio seem to hit tempi straight on the head. The ‘moderato’ modifier of the first movement [of the Piano Trio no. 1 in A minor] is perfectly judged, allowing space for the drama and lyricicsm; the second movement is an Andante con expressione (Lester’s cello beautifully expressive in its spotlit moments); the Trio allow momentum, a lovely sense of flow, while honing the dramatic elements…

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“Frith’s passagework spaces again in the finale… How even are Frith’s arpeggiations; how sweet Gould’s violin sings; how eloquent Lester’s cello. and together, they offer the quintessence of chamber music.”

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… The opening piano solo [of the Trio in F major, op. 167] is deliciously rendered by Frith; the lioness’s share of this Andantino goes to the violin, though, and Lucy Gould ensures her instrument sings like an opera singer. The cello get to sing, too, Lester in fine “voice” against beautifully staccato chords from Frith. Once more, the Gould Piano Trio nails the tempo indication: “Andantino, quasi Allegretto gracioso”. And, goodness, it is gracious.

In contrast, the Scherzo is marked just “Presto”… the piano’s gestures are separated by (decreasing amounts of) silence before a helter-skelter moto perpetuo is set in motion, delivered evenly and with a real sense of mystery here…There are some very characterful slithering gestures that punctuate the fabric, delivered with real character by the Gould Trio.