Logo Trio des Alpes
Musica

November 2016
20th-Century Women Composer CD Review

[...]A rendere irrinunciabile questo disco e` anche la prova splendida degli esecutori, l’italo-svizzero Trio des Alpes. Serissimo nella preparazione (del Trio della Clarke, pubblicato postumo, i musicisti sono andati a confrontare il manoscritto per rassicurarsi su alcune incongruenze, poi emendate, riscontrate nell’edizione a stampa), il Trio des Alpes non si lascia imbrigliare da nessuna costrizione formalistica, andando ben al di la` di una lettura curiosa di questi pezzi negletti, dei quali impone, anzi, un’interpretazione con cui dovranno inevitabilmente fare i conti tutti coloro (e speriamo che siano numerosi) che si volgeranno a queste musiche degnissime d’essere conosciute e riascoltate. Equilibrio ed energia, slancio fantastico e poeticita` non timorosa di affettuosi indugi, bellezza dei suoni e tensione espositiva, precisione esecutiva e liberta` dell’espressione, sono il combinato vincente delle virtu` rare di questo splendido ensemble. (Bernardo Pieri)
Donne della realtà (blog)

April 2016
20th-Century Women Composer CD - Review by Mario Chiodetti
Gazzetta di Mantova

January 2016
Concerts with Orchestra da Camera di MantovaMartinu [...] nel suo singolare Concertino per trio e archi dà luogo ad una scrittura dissonante, spigolosa, ruvida, lavorata sul dinamismo ritmico e su un gioco stretto di incastri, con cui il lavoro procede con un senso di geometrico incalzare. Un lavoro, questo, di difficile e rischiosa realizzazione, oltretutto, ma restituito con limpida chiarezza e convincente nettezza stilistica tanto dagli archi mantovani, fervidi e compatti, quanto dai solisti del Trio des Alpes (Hana Kotkova, Claude Hauri, Corrado Greco), con un sicuro assemblaggio delle linee ed un virtuosismo ben dominato in una salda azione d'insieme.
(Andrea Zaniboni)
Gramophone.co.uk

September 2015
20th-Century Women Composer CD Review
The fine Swiss-Italian Trio des Alpes thoughtfully assess a variable collection of [these women composers] chamber works. Beach is notably conservative and her 1938 String Trio, once past a provocative cascade of whole-tone scales at the start, rapidly settles into post-Brahmsian rectitude. She is better represented by the songs with ensemble accompaniment[...]. Boulanger’s two pieces were written shortly before her tragic death aged only 24; the first, Un soir triste, sustains a series of quietly shifting, unresolved dissonances over its compelling 11-minute span. Clarke’s 1921 Trio is the real revelation, a work of almost Bartókian asperity, tautly controlled and haunted by a reiterated, jabbing monotone that never lets the music or the listener settle. It also gets by far the best performance – fluent, committed and wonderfully energetic throughout.
thewholenote.com

June 2015
20th-Century Women Composer CD Review
This is inspired programming, with the works on this disc thoroughly complementing each other. All three composers represented here were born within a quarter-century of each other. They each write in an expressive style that marks the transition from romanticism to modernism. None are musical innovators. But as women, they are rightly regarded as pioneers today.

Amy Beach, who was born in Boston in 1867, is the most well-known composer here. Her Trio for violin, cello and piano is a complex, virtuosic work, which ends with a memorable flourish. Swiss soprano Lorna Windsor’s performance of four art songs are engaging enough to make me want to explore more of Beach’s enormous song repertoire.

English composer and violist Rebecca Clarke enjoyed what she called her “one whiff of success” when she introduced her Viola Sonata in 1919, and then, soon after, this lovely Trio. Flamboyant, intense, driven, this is an exciting work, especially as performed by the Swiss-based Trio des Alpes.

The youngest composer here, Frenchwoman Lili Boulanger (sister of the influential teacher and composer Nadia), was only 25 when she died in 1918. The Trio des Alpes brings out the moody expressivity of her two contrasting pieces for piano trio, the first, D’un soir triste, plaintive, the second, D’un matin de printemps, exuberant.

These fine pieces are too rarely heard, making this thoroughly enjoyable disc particularly significant.
classicvillage.net

March 2014
"[...] After this lengthy but necessary discourse [on the works performed], we now come to the interpreters: the Trio des Alpes is clearly a well-adjusted and most versatile ensemble, and we applaud them for presenting some very rarely heard repertoire which is sure to attract increasing attention. At the end of this most interesting and superior concert, the large and appreciative audience was rewarded with the Andante from Mendelssohn’s first trio, performed with great elegance."
(Marco del Vaglio)

Beethoven op. 1/2 - Beach - Clarke
Gazzetta di Mantova

February 2014
"A magnificent Beethoven, radiating joy and freedom
Wonderfully attuned to each other, the Trio des Alpes gave a beautifully convincing and meticulous interpretation, effortlessly doing justice to the different characters of these two quite complex works: the first [op.1/2] is a work of elegant and lofty entertainment, while the second [op.70/2] leads to the summits of free and inspired experimentation. With this in mind, the balanced ensemble gave a Beethoven performance full of clarity and expression, thrilling their attentive audience. Following this evening, which ended with prolonged applause and one encore, the season continues on Monday."

Beethoven op. 1/2 & op. 70/2
InstArt

February 2014
"Although written in homage to Joseph Haydn, this composition [Beethoven’s op.1/2] already has all the features of the mature Beethoven, with his dynamic and thematic contrasts. These aspects were very well emphasized by the young Trio des Alpes, whose members showed a deep understanding of Beethoven’s innermost world. Their sound is mellow and beautifully blended, the intonation free of any inaccuracies, the choice of tempo is spot on and their interpretation is free from any vagueness. Their Beethoven is still linked to classical formal patterns, but in the depths, in the diverse themes and the very original evolution of thematic material, one can already discern future developments. This was an interpretation of high quality, and the audience responded with enthusiasm.
In the second half of the concert we heard Schubert’s op.100. And here emotion triumphed over any attempt at formal analysis or intellectual listening. This Trio is pure emotion, in its idiom as in the interpretation which made it glow. Take for instance the famous theme of the Andante con moto, where the cello’s delicate despair is accompanied by the piano, or the passionate lyricism of the Allegro, or the brilliance of the Scherzando... Words cannot describe the emotions evoked in this wonderful piece. Emotions which clearly communicated themselves to a rapt audience and culminated in emotional and prolonged applause, rewarded by Mendelssohn’s lovely Andante tranquillo as an encore."

Beethoven op. 1/2 - Schubert op. 100
La Voce

May 2012
“The Trio des Alpeps gave an interpretation of Debussy’s work with beautifully judged details, dynamics and flexibility in the shaping of its frequent changes of mood. Mirjam Tschopp, Claude Hauri and Corrado Greco are perfectly matched, and place their technical skill at the service of a balanced tonal language. Solidarity and the way they breathed together were also evident in Ravel’s famous Trio [...], played with personality and suitable determination.[...] The Trio des Alpes’s passionate and brilliant performance met with a warm response from the audience.”
(Guido Maria Pavesi)

Debussy - Boulanger - Ravel
Cronaca di Mantova

May 2012
“Ravel’s Trio, an extraordinarily demanding work both in technique and interpretation, was given a most effective performance by the three members of the Trio des Alpes, perfectly balanced in sonority and sound intensity – an outstanding chamber music ensemble of excellent instrumentalists.”

Debussy - Boulanger - Ravel
Gazzetta di Mantova

May 2012
“Individually excellent, they are even more impressive together, evidently as the result of patient and insightful attention to detail, and a combination of admirable balance and remarkable clarity. This is all the more noteworthy as the chosen works [...] are among those whose difficulty can defeat any but the best performers. [...]The Trio des Alpes played with probing intelligence, smoothing away Debussy’s rough edges and somewhat sketchy writing, and added depth, rationality and precision to Ravel’s inspired text: these different but absolutely compatible approaches produced clearly defined, structured interpretations, which were received with enthusiastic applause.”

Debussy - Boulanger - Ravel
Libertà

November 2011
“Greco’s secure clarity at the piano, the Trio’s foundation and driving force, the relaxed and sensitive collaboration with the wonderful and virtuosic violinist Tschopp, and the often decisive style of the powerful Hauri at the cello: we were literally captivated by the liveliness of the music they performed.”
(Mirella Parisini)

Wettstein - Martin - Dvorak
La Sicilia

November 2011
“A memorable evening; the numerous audience was immediately captivated by a composition dedicated to the ensemble: “Alpentangomania”, a first performance by Martin Wettstein.[...] The violinist Mirjam Tschopp’s full sound and expressivity were immediately apparent, and her many soloistic episodes bloomed with inspirational freedom. The cellist Claude Hauri, with his deep, never muffled sound, was immediately at one with his Swiss colleague, while the piano’s percussive interjections held the piece together. This brought out the very best in Corrado Greco, and showed his versatile musical understanding and openness towards new forms of musical language.[...] Lasting applause for the Trio, who as an encore gave us Mendelssohn’s Andante in all its neoclassical splendour.”
(Salvo Romano)

Wettstein - Martin - Dvorak
classicvillage.net

February 2011
“In the works they performed, the Trio demonstrated perfect teamwork and remarkable ability, especially considering the great technical demands of the work by Martin, in particular, and theirs was a concert of the highest quality. The large and riveted audience demanded and received as an encore the Andante from Mendelssohn’s first trio, played by the ensemble with supreme elegance as they brought this first outstanding performance of the season to an end.”
(Marco Del Vaglio)

Haydn - Martin - Dvorak