25 TRIO SŌRA After a complete set of the Beethoven trios, your very first release, here now is another complete recording, of the trios of Brahms. Why this choice? Pauline: We embarked on the complete Beethoven trios with considerable trepidation: an Everest to conquer! It was a daring gamble for a first recording. As was the decision to form a permanent trio and devote our musical activity to this repertory. Each of us had her first experience of chamber music with one of Brahms’s trios. When Angèle and I played with Fanny for the first time in 2022, we opened the score of his Trio no.1. So this composer was something we really ‘shared’. As we don’t do anything by halves, the idea of recording the complete set ended up seeming logical. A second Everest loomed before us! Are the Classicism of Beethoven and the Romanticism of Brahms two distinct worlds for you? Angèle: Like Beethoven’s, the music of Brahms is recognisable right from his first works. Nevertheless, it’s marked in many ways by the Classical heritage, to which Brahms always remained attached, especially in terms of structure and form. In our version of his trios, Beethoven looked towards the future. Brahms, for all the Romanticism that characterised him, turned his gaze towards the past, plunging his roots in it and taking it as a source of inspiration. This was the viewpoint that guided our approach to his trios.
RkJQdWJsaXNoZXIy OTAwOTQx