Trio Wanderer’s wonderful “Art Nouveau” collection

I’ve always loved Trio Wanderer and have most of their recordings for harmonia mundi on my shelves – including the hands-down, best collection of Beethoven Piano Trios ever committed to disc. However, doing a little research for this review, I’ve discovered, much to my utter disbelief, I am missing a couple from my collection (notably their Schubert and second set of Haydn). And after listening to this latest recording from them, which is absolutely wonderful, I will be immediately embarking on a quest to acquire those – which may not be easy, with so many titles available only via digital download these days. (Sigh.)
 
This newest recording is on CD and was instantly enticing – not only because of Trio Wanderer, but its clever title, “Art Nouveau”, which prompted me to take a closer look. I was excited to see they include not only the Piano Trios of Debussy and Ravel (and Lalo), but also their Sonatas as well. And one day, just by chance, Amazon happened to have it at a reasonable price (which is an extremely rare occurrence), so I snapped it up instantly. And what a treasure it is.
 
As is my wont, I began listening to the music for smaller groupings (sonatas) and worked my way up to those for full trio. I started with Debussy’s Sonata for Violin and Piano, which opens Disc 2. And from the very first note of the very first measure, I literally gasped at the gorgeous, voluptuous tone of this violinist. And also at the airy, textured sound afforded by the recording engineer. The G-string sound is jaw-dropping as it delicately fills the acoustic with rich body of tone, and then the highest register floats ethereally up into the rafters, shimmering with color and sensuality. Oh my goodness – what violin sound! And not just the sumptuous tone; it’s also the dynamic range, articulation and characterization of the music which make this violinist’s playing so captivatingly beautiful. I’ve always liked Debussy’s Sonata, but I’ve never heard it played like this! I jotted “OMG” in my notes upon hearing him playing the opening phrase with such alluring variety of tone color and vibrato intensity. And I hadn’t even gotten to the main Allegro yet! So before I could go on, I decided to find out more about this violinist. So please indulge me.
 
The booklet is informative about the composers, but provides nothing about these musicians. (I suppose this group has recorded so much for harmonia mundi, the producer thought it redundant at this point. Fortunately we have Google for that.) Jean-Marc Phillips-Varjabedian (that’s a mouthful of a name for sure, and one not easily recalled) was born in 1965, studied as a child in Paris, then in Italy with none other than Accardo, and eventually a year at Juilliard with Dorothy Delay. He currently is violin professor at the Paris Conservatory. He has played with Trio Wanderer (as have all its members) since its inception in 1987.
 
Now getting back to Debussy, I’m struck by how vividly the music is characterized by both violin and piano alike, even though the recording balances the piano slightly farther backward than I would expect to hear in a live concert – definitely in an accompanying role. But the atmosphere created is alluring, and the violin is naturally presented – never spotlit. And throughout, it’s the sheer gorgeousness of the musicmaking that makes a lasting impression. In addition, the 1st movement vivo and final tres anime are as brilliantly characterized as you’ll ever hear, making this one of the most engaging and musically rewarding recordings of this piece I can ever remember hearing.
 
The Cello Sonata is not as rewarding musically – at least that’s what I was expecting from it. But I was wrong about that. The recording gives the piano a more prominent role, most beneficially, and it is here where pianist Vincent Coq really comes to the fore. Interestingly, cellist Raphael Pidoux began musical studies as a pianist, switching to the cello at age 17 and eventually studying with Janos Starker (in the U.S.) in 1989, after Trio Wanderer had been formed. And the more I listened to this recording, the more enamored I became with his sound – the variety of texture and color, softly wispy at first, then rich and wooden down low, but never gruff or coarse. This is lovely cello sound – the opposite of imposing; perfect for Debussy. He and Coq play as one, as absolute equals, and they bring the piece brilliantly to life. Most striking is the vivid characterization – not only highlighting its tunefulness, but also the sheer virtuosity of it, making it sound far more exciting than I can ever remember. All through, I continue to be thoroughly immersed in the musicmaking, aided by some of the very best recorded sound I’ve yet encountered from harmonia mundi.
 
Anxious to hear the full trio playing together, first we have Ravel’s Sonata for Violin and Cello up next. It’s a peculiar little piece (though not that little, lasting a full 20 minutes) which I’ve never really warmed to. But once again, these awesome musicians manage to change my impression of it. Though the first movement Allegro is much as I remember, the tres vif which follows is played here with such flamboyant panache, I instantly perked up. I hadn’t remembered this at all! Where did all those interesting and seemingly unusual string effects, sounding almost avant-garde, come from? I would never have expected to hear such originality of sound from Ravel, especially in 1920! Nonetheless, these two get down with it, exploiting the inventive writing and, especially, the scoring, for maximum effect.1 One would never guess this is played by just two instruments; it sounds extremely difficult to play. 
 
The Lent is a strange thing, again not something I’d expect from Ravel in the ‘20s, but the final vif is vigorous and sounds more like vintage Ravel, though spiked with rhythms and harmonies like Stravinsky. I found it amusing, reading in the booklet, that Ravel himself stated he abandoned harmonic charm in this piece. Yup. That is certainly true!
 
After this, I decided to finish off Disc 2, which concludes with Ravel’s famous and beloved Piano Trio. And it is a soothing respite after the double Sonata. It is rather more symphonic in nature (as to be expected) and instantly demonstrates Trio Wanderer’s roots and deep experience playing together as a group. (In fact, they have recorded it before, way back in 1999, also for harmonia mundi, reissued in 2007 coupled with the Chausson Trio.) It is masterfully played here – dramatic one moment, sweetly singing the next; and switching gears from intimate and (deceptively) transparent at times to full-bodied, almost orchestral, boldness at others. This group is exceptional at clarifying, defining and portraying these differences. And throughout, it is this violinist’s gorgeous tone and sweetly singing lines which continue to draw me into the music. What a wonderful violinist Mr. (wait, let me look) Phillips-Varjabedian is.
 
And that’s not all. Still in the 1st movement, my oh my (!) do they ever whip up excitement as it progresses, in the lead-up to the central section. I was taken aback by the dynamic range and sheer vigor they generate, and the range of emotions expressed. And the starkness in the final two minutes, at an absolute pp (marked lointain, “far away”), then even more so at the ppp harmonics in the closing measures, is touching and eerie at the same time.2 Very, very impressive.  
 
And I love the tempo for the Assez vif, which sounds a notch quicker than usual and thrillingly virtuosic, lending it a gossamer, less deliberately grand feel, which is absolutely exhilarating. The Passacaille is moving and heartfelt, but dramatic too, which can become a bit intense at its most passionate, heated moments. But the finale lightens beautifully, though slightly less anime than I would have expected. But it fits in well with the overall scope these musicians envision for the piece.  
 
Moving now to Disc 1. While I’m anxious to hear Lalo’s Piano Trio #3, with which I am not familiar, I decide to jump ahead to Mel Bonis’ delightful miniatures first. Soir (“evening”) is a lovely thing, quietly relaxing with the violin and cello singing ever-so-sweetly over arpeggiated piano accompaniment (not unlike Saint-Saens’ The Swan, written some 20 years later!). Matin (“morning”) has the gentle energy of the dawn of a new day, like a flitting butterfly, with muted strings over a bustling piano. And here Ravel makes a very strong impression. This reminds me of Ondine from “Gaspard de la Nuit”, and a couple minutes later, his “Introduction and Allegro”. It’s fascinating how remarkably similar this music is to Ravel’s – all written around the same time.3 These little gems, lasting a total of just 6-1/2 minutes, are a real delight, making me wish we could hear more of her relatively small body of music on record. If ever there was a neglected composer whose music needs a revival today, it is Melanie Bonis. The final track on the CD is her rhapsodic Barcarolle for solo piano, which is more distinctive, and beautifully played here.
 
Amazingly, Debussy wrote his Piano Trio in 1880 when he was just 18 years old. Trio Wanderer takes note of that, bringing an airy freshness to this music. The sweeping Andantino is free-flowing, almost as if improvised, and they keenly observe the moto allegro indication, playing it just a whisker faster than usual. Very nice. And their dynamic range is once again notable. This is more energetic and exciting than usual, fully realizing the youthfulness of its young composer. The Scherzo is whimsical and a bit playful, though perhaps a touch less charming and more stately than sometimes heard. While the Andante espressivo is expressive certainly, but rhapsodic too, anticipating the appassionato yet to come in the final movement. And this finale is a bit less grandiose than usual, with soaring lines reaching effortlessly heavenward. The group generates tremendous momentum toward the final peroration, bringing the piece to a satisfying close.
 
I thought these performances of the two famous Piano Trios were interesting. I find some groups search for parallels in these Trios by Debussy and Ravel, perhaps trying to relate them musically like kindred spirits. (The same goes for their String Quartets as well.) And they can often end up sounding more similar to each other than not – which, of course, makes them perfect disc-mates (and they are often coupled together on CD). Trio Wanderer seems to take the opposite approach – embracing their distinct differences, relishing their individual soundworlds, highlighting the 35 years of musical development which has occurred between their composition dates. As a result, I enjoyed hearing them anew, each in a slightly new light.
 
And finally I go back to the beginning of Disc 1 for Lalo’s 3rd Piano Trio, written the same year as Debussy’s. This should be an interesting comparison! And oh my goodness, what a stark contrast it is. While Debussy’s is imbued with youthful, innovative creativity, Lalo’s was written by a mature composer, much later in life, who had no inclination (or even the slightest intention) of leaning toward Impressionism. Instead, his music remains firmly rooted in the rich, heavy Romanticism of the time, with Brahms bearing a very strong influence.
 
Indeed, this is bigger, heavier and much more dramatic than the rest of the music on the program – featuring a big, powerful piano part.4 And Trio Wanderer embraces that and certainly doesn’t shy away from the appassionato indication for the opening movement, pouring it on with full power. And to be honest, this movement is a little imposing – and very long, at nearly 10 minutes, which really is a bit much.
 
The ensuing Presto is pretty heavy too, surprising for a presto, and the piano continues to be a domineering force. There’s no denying the energy of the playing, though I couldn’t help but wonder if a slightly lighter touch would have been beneficial. (After all, it isn’t marked con fuoco, simply “presto”, but there is certainly a lot of fire in the bows here.) Fortunately, it is relatively short (under 5 minutes). Unfortunately, the same can’t be said for the lent, which is somber and very long – over 9 minutes. It opens with an impassioned, moody tune for violin and cello in octaves, over gloomy chords in the piano, and we know we’re in for a long haul. But it’s not oppressive or depressing, and the tunefulness is not unwelcome. The final Allegro molto tries to lift one’s spirits, but it too is burdened with Brahms heaviness, with more big, heavy piano writing (which occasionally reminded me of Chopin). I think the tempo could have been a bit more molto too. It’s not exactly sluggish, but certainly not fleet-footed either, and ends with grandiosity rather than any attempt at exuberance. Nonetheless, it is a reasonable length (about 6 minutes). 
 
I wasn’t expecting this from Lalo and clearly didn’t enjoy it nearly as much as all the rest. I’m so glad I didn’t start with this, and it really is a shame they placed it first on these CDs, for it is a little overwhelming and nothing like anything else on the program. If you like Brahms, you’ll probably like this Trio from Lalo. And taken on its own, perhaps on another day, I may very well have enjoyed it more than I did in the company of Debussy and Ravel.5 To me, it just seems a bit out of place with the rest of this program. 
 
Overall, this set is invaluable and brings much pleasure. It is superbly played, superbly recorded and musically enlightening. The production is excellent too. It comes in a very nice 3-way foldout enclosure, with actual CD trays glued inside which secure the discs for easy access, rather than the usual cardboard sleeves which have become commonplace. It comes with a first-class booklet, complete with interesting pictures of the musicians – though as noted earlier, no information whatever about them. How odd.
 
But never mind that. This is a marvelous set which everyone should enjoy. It is the 3rd release just this year of outstanding chamber music which deserves a place on the Best of Year list, along with the Pacifica Quartet’s Korngold set (which is a real gem), and Ensemble Arabesques’ collection of wind music by Theodore Gouvy (which is a real find). 2026 is off to a fantastic start!
 
1 Nothing is exaggerated or “enhanced”. It’s all right there on the printed page just waiting to be revealed.
2 Attention to details such as these demonstrates the deep experience of a group of musicians who have been playing together for decades, and distinguishes them from many other groups. They don’t just play the notes because that’s what they see on the page, they consider why they’re written that way. For instance, why did Ravel write those mid-range notes there at the end as harmonics? Is it simply for color? Or just for amusement? Or did he want to create a real contrast in mood and atmosphere? Trio Wanderer brings real insight in the way they reveal these little details, which is part of what makes their performances so uniquely rewarding. 
3 It’s entirely possible Bonis was first with some of this music, and perhaps I have it backwards – maybe, just maybe, Ravel was influenced by Bonis!
4 And it seems like the engineer has given the group a little boost here as well. Compared to everything else on these CDs, they sound to have moved a little more forward in the acoustic, given a slightly more imposing presence than heard in the other works. 
5 And I decided to do just that. I listened to just the Lalo a couple days later, but sadly came away with the exact same impressions. While I wasn’t familiar with the piece, I kept thinking this group is trying a bit too hard to make it sound bigger and heavier than it needs to be. And I’m not sure why they felt the need to play it this way.