The Chimæra, a lion-goat-serpent hybrid in classical Greek mythology, has been adopted by three classical musicians as a symbol of fiery, creative energy. In their second SACD release for MDG, Chimaera Trio bring that energetic attention to works composed for clarinet, cello and piano by Danish composers Niels Gade and Emil Hartmann, and to an adaptation of Mendelssohn’s Piano Trio No 1 in D minor, Op. 49 by the ensemble’s pianist Laurens de Man. The program is framed by the relationship of the composers’ personal histories, and the stylistic currents that influenced their writing.

Niels Gade (1817-1890) enjoyed success during a stay in Leipzig, where his compositions were praised by Robert Schumann and conducted by Felix Mendelssohn. On his return to Denmark, Gade married the daughter of the leading Danish composer Johann Peter Emilius Hartman, and became the brother-in-law of Hartmann’s son, composer Emil Hartmann (1836-1898). The younger Hartmann had also gained recognition in German-speaking centers of musical culture at a time when the influences of Schubert, Schumann, and Mendelssohn were at their apex, but while Gade achieved prominence in his home country, fortune did not equally favor Hartmann. His later years were shadowed by depression, necessitating stays in psychiatric institutions.

In Hartmann’s Serenade in A Major Op. 24, the composer, deeply rooted in the Romantic soil of Schubert, Mendelssohn, and Schumann, displays melodic inventiveness and flourishes of individuality that extend beyond the models of his musical idols. The cantabile opening theme of the second movement, beautifully played by cellist Irene Kok, conveys the pathos of Hartmann’s struggles. Pianist de Man’s informative liner notes include a textual comparison of passages from the Serenade’s final movement, in which Hartmann paid tribute to the tragically short life of Franz Schubert. The Chimaera Trio’s insightful performance treats the composition as a first-rank work, and advances the restoration of Hartmann’s reputation.

Gade’s Novelletten in A minor Op. 29, a five-movement work, has a lithe, mercurial character that is well served by the Chimaera’s light touch and intuitive interplay. The ensemble’s decade-long commitment to the repertoire is evident throughout the program.

The compositions by Hartman and Gade were expressly written for clarinet, cello and piano. But Mendelssohn’s Piano Trio No. 1 was composed for violin, cello and piano, and de Man’s adaption of the violin part for the clarinet presents a challenge to the ensemble as a whole, not only to the clarinetist. Engaged listening to this thoughtful performance will be well rewarded. The clarinet, with its limpid timbre, has a subtler attack and a more restrained vibrato than the violin, which places great demands on the performer to communicate the work’s emotive values. Clarinetist Annemiek de Bruin rises to the challenge with superb technique and masterful control of tone color. Substituting a woodwind for a string instrument changes the overall balance; the weight is evenly distributed among the ensemble members, allowing the listener to focus on the interplay and interweaving of melodic lines.

One of MDG’s preferred recording venues, Konzerthaus Abtei Marienmünster, is the residence of a remarkable 1901 Steinway D grand piano named for its restorer, Manfred Bürki. The piano is featured on many MDG SACDs and CDs, and is heard on both of Chimaera Trio’s MDG SACD releases. There is an intimate communication between pianist Laurens de Man and this unique instrument that even a nonspecialist can appreciate. Unlike the familiar bright stridency of a modern model D, the 1901 instrument has a softer, mellower timbre that is evocative of an earlier era.

The small but resonant acoustic of the Konzerthaus Abtei, and the exquisite tone of the 1901 Steinway model D, provide Chimaera Trio with the perfect setting and instrument for this well-considered and artfully executed program.

Copyright © 2025 Mark Werlin and HRAudio.net

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