It’s a moment many performers only dream of. That backstage buzz of energy, met by the hum of audience murmurs and the anticipation of composers on the edges of their seats, waiting to hear the premiere of the pieces that began as ideas. And premiered, of all places, on the legendary stage of Weill Recital Hall at Carnegie Hall, in the heart of New York City. Bows are rosined, pianos are tuned, scores are prepared – for many artists this might be the most unnerving moment of their careers.
For Trio Casals, this is a moment of coming home.
Trio Casals, aside from being a dynamic presence in the contemporary chamber music world, is the “house band,” so to speak, of the Navona Records series, MOTO. MOTO is a series of multi-composer albums, in which composers from all backgrounds submit scores to be considered for inclusion. When creating this series, PARMA and Trio Casals wanted to take the presentation of these works a step further, and bring them to life onstage. And what better place for a live premiere than one of the world’s most prestigious concert halls?
MOTO PERPETUO, kicking off the series, was released in 2013, followed by the equally complex and impactful MOTO CONTINUO (2015) and MOTO BELLO (2018). From beauty in motion to dances in dissonance, the Trio delivered what the individual composer was envisioning: a unique look into movement in all its various states. The fourth installment, MOTO QUARTO, releases July 12 on Navona Records, followed by its accompanying world premiere performance at Weill Hall on July 20 at 8 PM. This eclectic, daring program serves as a welcome challenge for the Trio to once again introduce the latest in contemporary chamber music to audiences of all kinds, and, as pianist Anna Kislitsyna has stated, to further build and sustain the genre. Its Carnegie premiere, like those of MOTO albums past, promises to be a powerful experience – violinist Sylvia Ahramjian describes it to be a moving feeling to be one of the ensembles in a long line of legendary artists and performances that have taken space onstage at Carnegie Hall. In preparation for the release of MOTO QUARTO, PARMA took time to speak with Trio Casals cellist Ovidiu Marinescu, where we discussed the history, experiences, and hopes tied into the MOTO series and the performances at Carnegie Hall:
And what comes next for the Trio and MOTO? We just wrapped sessions this past May at Futura Productions for the fifth installment in the series, and plans are in place for the sixth album.
From the recording room to the concert hall and everywhere in between, chamber music and the composer-performer connection are alive and well.
“[MOTO PERPETUO] includes moments of rumination and brooding personality, qualities that suit the dark, sagacious timbre of the cello, amid episodes of rustic charm and extrovert vitality. It’s a highly eclectic mix of repertoire…. Marinescu teams with colleagues in chamber-music conversations of winsome and impassioned appeal.” — Gramophone Magazine “Each of the ten composers brings an individual voice to the medium, making for a varied and satisfying program. The playing is convincing and committed throughout.” — The Whole Note on MOTO BELLO “Accomplished song craft that’s handled exquisitely with Trio Casals.” — Take Effect on MOTO CELESTE “The recording process for Ondine was top notch…. With regards to the Trio, I can’t say enough good things about their attitude, professionalism and devotion to the music. These types of artist are the reason why I enjoy what I do so much. Congrats on assembling a star team!” — Composer Giovann...
WORKS FOR PIANO TRIO & SOLO PIANO Inspired by traditional melodies and cultural flavors, A GRAND JOURNEY gives us contemporary chamber works by Richard E. Brown, Ovidiu Marinescu, and Mark G. Simon. Performed by internationally acclaimed Trio Casals, these distinct works immerse listeners in varying motifs drawn from diverse cultures, simulating a journey of melodic Korean folk patterns, Greek mythological icons, Irish fiddling, tango, and sensations garnered from the Black Sea and English countryside. The composers draw upon a wealth of technical knowledge and established forms to bring their musical visions to life. Brown’s Trio No. 1 applies ideas from pentatonic Korean folk songs to strictly crafted chaconne, scherzo, and fugue forms, while Trio No. 2 follows a looser bookended construction with a pastoral sound. Marinescu’s piece, The Journey , refers both to cultural sources and the composer’s own inner journey as he blends classical form, clocklike repetition, ta...
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