Ravel composed his Piano Trio M67 just before enlisting voluntarily in the First World War. Inspired by the Basque country and its zortziko dance, the...

Ravel composed his Piano Trio M67 just before enlisting voluntarily in the First World War. Inspired by the Basque country and its zortziko dance, the Trio ends with a sombre, almost anguished fourth movement. A mood inspired by the impending war? In his Piano Trio No.2, op.67, Shostakovich too is affected by the horrors of war and the death of a close friend. For the first time in the Russian composer’s output, we hear a Jewish theme, a danse macabre echoing the terrible events of the time. Another point in common between the two works is that both include a passacaglia. For the Busch Trio, it was self-evident that these two heart-rending works should be brought together on the same album.

REVIEW:

The Busch Trio has the depth of musicianship to encompass the very different emotions of these great 20th-century chamber works. In the Ravel, the music’s dreamlike quality comes across particularly vividly, without any indulgence. At the same time, there’s no lack of urgency in the more agitated full-blooded sections that have a tremendous visceral energy.

After the Mediterranenan glow of the Ravel, the Shostakovich come as something of a shock. The Finale is the most challenging movement both for the players and the listeners. The Trio focus on holding back for as long as possible, so that when the climax is eventually reached – with the forceful restatement of the Trio’s opening material – the impact is absolutely overwhelming.

-- BBC Music Magazine