13 TRIO PANTOUM Ravel's trio is the score that brought them together in 2016, when they were still students at the Conservatoire national supérieur de musique et de danse de Paris. ‘It was even the Pantoum that we read through at our first encounter. A rather audacious choice for a debut as a trio!’ admits Hugo Meder, now aware of the extreme virtuosity of this movement redoubted by so many performers. ‘Borrowing the name of our ensemble from him is a way of expressing our fascination not only with Ravel's music, but also with this form of oriental poetry, the pantoum, which inspired both Baudelaire and Hugo, and whose particularity is to develop and entwine two different ideas within the same stanza. This corresponds to our conception of the trio: three musicians who come together to serve a common project, without putting aside their respective personalities’, continues the violinist. For pianist Kojiro Okada, this approach demands a commitment as demanding as that of the string quartet: ‘We have to find a balance between the group and the individual, bearing in mind that the vast repertoire at our disposal allows us to experiment with all kinds of sonic equilibrium. Ravel's work, for example, requires really concentrating on the cohesion. Arensky's trio, on the other hand, seems to be written more for three soloists, leading to a greater distinction between individual timbres.’
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