The two piano trios of
Dmitry Shostakovich, written 19 years apart, could not be disparate works. The first was written when the composer was all of 17 years of age, before he experienced the antagonism of his own government and the tragic deaths of friends and supporters. The second trio, arguably one of the most significant chamber works of the twentieth century, is a much more volatile, dark composition. Successful performance of both of these works on the same album is difficult to pull off because of the immense character differences between them. The
Trio Paian achieves these stylistic differences with apparent ease. While not a flawless performance -- the violin in its uppermost register is often quite flat --
Trio Paian possesses a number of compensatory qualities. For one, its array of sound qualities is most impressive, from the glass-like stillness of the false harmonics that opens the second trio to the scrubby and gruff second movement. Dynamics are notably varied; the swells in the second movement are quite effective and the group's pianissimos are rather breathtaking. Balance is also quite good, with each instrument being clearly audible in even the most percussive sections.
Shostakovich is not the only composer who receives this group's special performance skills. The piano trio works of Paul Juon, who shares little in common with
Shostakovich apart from geography, are also included. Hearing these two compositions immediately after the
Shostakovich second trio, however, is a little bit of a let down. While they're quality works in their own right, it's simply difficult to follow something as emotive and provocative as the
Shostakovich. The flow of the album may have been better served if the two composers were reversed.