Anton Reicha was a Bohemia-born, Bavarian-educated, later naturalized French composer, who was a pal and modern of Beethoven. While he wrote in all kinds of genres he’s primarily remembered for his substantial early contributions to the wind quintet literature and his position as trainer of pupils together with Franz Liszt, Hector Berlioz and César Franck.
Now the Trio Bohémo presents the primary full
trendy recording of Anton Reicha’s Six Piano
Trios, Op. 101 on Supraphon. After greater than two centuries,
these works have lastly been captured with
distinction by Trio Bohémo in Vienna with
the recording crew of Andrew Keener and Oscar
Torres. Simply earlier than the recording’s launch,
we talked with the trio’s cellist Kristina Vocetková.
Kristina, what led Trio Bohémo to the music
of Anton Reicha and to his lesser-known
however exceptionally creative piano trios?
It was Supraphon’s chief government producer
Matouš Vlčinský who got here up with the thought of
recording Anton Reicha’s works for piano trio.
As a result of we now have lengthy felt an amazing affinity for
Classicism, and since our research at
the European Chamber Music Academy
concerned intensive coaching within the discipline of knowledgeable interpretation for that interval, the thought appealed to
us immediately.
Reicha’s trios are infamous for his or her technical
and expressive complexity. What had been essentially the most
difficult moments when studying
the recording them?
We had some shocking moments with Reicha’s
trios from the beginning – when studying them, we had been
shocked at first by their technical calls for and
then by their expressive complexity. Progressively,
nevertheless, we started to find Reicha’s
inventiveness, a sure visionary high quality,
and above all his sense of humour. The final
however maybe nicest shock has been the fully
constructive response of audiences all over the world.
You made the recording in Vienna with
the confirmed crew of Andrew Keener and Oscar
Torres. How was the environment within the studio,
and the way did their method contribute to
the ensuing sound?
We additionally labored with Andrew Keener and Oscar
Torres on our first album, and we knew what
to count on from one another, so we had been drastically
wanting ahead to creating one other recording
collectively. And that positively was mirrored in
the environment within the studio and within the total
outcome. Reicha’s music could be very joyful, and our
recording classes had been like that too. We are able to
completely depend on Andrew and Oscar. We like
the best way they go about their work, so collaborating with them once more on this mission was an amazing
pleasure.
That is the primary full reference recording of
all six of Reicha’s trios. How does it really feel to be
the primary performers to provide this music its voice
again after over two centuries?
The actual fact the Reicha’s trios usually are not burdened by
a robust interpretive custom gave us loads of
room to seek out our personal particular person path. We tried to
apply the method of knowledgeable interpretation of
music of the Classical interval, however on the identical
time, what we loved doing was discovering
the weather of humour which can be hid to
a better or lesser diploma. It was a problem for us
to keep away from guaranteeing comparisons between
Reicha and his contemporaries and successors.
We tried to convey our personal distinctive interpretive
method to his music, mirrored in our dealing with
of tone, use of the pedal, vibrato, phrasing,
and evenly balanced articulation.
Reicha is usually referred to as a visionary who foresaw
parts Nineteenth- and even Twentieth- century music.
How would you characterise his musical language
to listeners maybe listening to his music for the very
first time?
Having spent months working intensively on
Reicha’s music, we might describe his musical
fashion as a peculiar mixture of Late Classicism
with Early Romanticism, enhanced by an amazing deal
of pleasure and vitality. He stands out for his daring
dealing with of harmonic progressions and for his
shocking shifts of expressive temper.
Trio Bohémo – Matouš Pěruška (violin), Kristina
Vocetková (cello), and Jan Vojtek (piano) – have
emerged as considered one of Europe’s main chamber
ensembles within the span of only a few years. They
have gained first prize at prestigious worldwide
competitions (Haydn Competitors in Vienna,
Parkhouse Award in London, Johannes Brahms
Competitors in Austria), and so they seem at main
venues worldwide like Vienna’s Musikverein,
London’s Wigmore Corridor, and the Prague Spring
Competition.
Their debut album on Supraphon (2024)
acquired enthusiastic evaluations in media together with
Classical Album of the Week in The Guardian
and 5 stars from the BBC Music Journal and I spoke to them concerning the album in 2024, see my interview ‘Ready until they really feel they’ve one thing to say’
