17 TRIO PANTOUM Three works involving three very distinct artistic approaches. With Ravel, the work of these musicians focused largely on the search for colours and transparency. ‘This trio drove us to discover timbres that we were not necessarily used to hearing on our instruments and to develop a quasi-orchestral sound,' says Kojiro. The interpretation of Arensky's work was more contrasted, as Hugo tells us: ‘One senses in this music a rather youthful aspiration, a playful mood, particularly in the scherzo, as well as references to Haydn and, in the haunting elegy, a profound lyricism reminiscent of Dvořák.’ Finally, Srnka's piece, the title of which refers to social networks, was a formidable catalogue of technical challenges, with so many different playing techniques (plucked piano strings, string bow rubbed on the tailpiece...). ‘It's as if there were no limits to the possibilities of our instruments,’ says Bo-Geun, underlining the pleasure offered by such a score: ‘You can have fun and imagine all sorts of sounds, even noises, like a creaking door. The composer also showed himself to be open to our interpretative suggestions, even if they did not necessarily align with his own perceptions. His idea was to demonstrate the way musicians can depersonalise themselves and start playing like a machine. We thus had to give the impression of a very mechanical performance, but with the freedom to inject our own creativity into it.’
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