Panufnik Trio

In Joseph Haydn's Piano Trio in E minor, the three musicians found the perfect balance between momentum and calm intensity. The runs of pianist Artur Pacewicz flowed clearly and precisely, while the silvery, resonant tone of violinist Pawel Zuzanski blended wonderfully with the velvety cello sound of Lynda Anne Cortis. The ensemble dove uncompromisingly into Ludwig van Beethoven's Trio in D major, Op. 70 No. 1 (...) the Panufnik Trio brought out the extreme contrasts with breathtaking virtuosity: time and again, one marveled at how the hardness and roughness of the fortissimo passages suddenly broke open, transforming into melodies of striking beauty. Antonín Dvořák's "Dumky" Trio also thrives on intense contrasts (...) Lynda Anne Cortis performed her cello solos with deep emotion, and Pawel Zuzanski flawlessly mastered the challenging double stops in his violin part. The trio played with great intensity and constant eye contact, swiftly transitioning from dreamy dialogues to extroverted wildness. In the encore, the three musicians took all the time in the world to perform the "Elegy" by Dvořák's student Josef Suk with the utmost serenity.

The musicians effortlessly found their way into Dvořák's "Dumky Trio" and ignited a fireworks display of tempo nuances in their interpretation of the six ballad-like songs, with their typical shifts between slow melancholy and lively exuberance. The dance-like quality, the folkloristic elements, the drama, and the bittersweet sorrow of the movements were brought together by the two string players with musical élan and precise interplay.

The concert was characterized by the harmonious unity of the musicians. However, this perfect harmony still allowed each instrument enough room to step into the foreground at times, before reuniting musically once again. Full of zest for life, the musicians presented their treasures. The facial expressions and gestures with which they interpreted the individual movements were impressive. Always in motion—whether with vigor or with almost palpable restraint—they drew the trios by J. Haydn, L. van Beethoven, and A. Dvořák from their instruments.

In two piano trios—first Beethoven's E-flat major work, then Schubert's E-flat major composition—the trio delighted with the highest technical perfection and a lively, captivating interpretation. The string players opened the first Beethoven movement with singing harmony. However, the brisk, driving piano led with virtuosic runs to the dance-like main theme, which was ingeniously varied throughout. (...) Schubert's fourth movement demands the highest technical skill, as it features strongly contrasting themes clashing together. The constant harmonic and metric shifts also pose challenges, which the trio mastered in a fascinating manner. Though this movement, according to Robert Schumann, has "a heavenly length," it is so engaging that it almost sweeps by in a flash.

The wonderful dialogues between the instruments, the carefully celebrated inner tensions in the pronounced lyricism, left no desire unfulfilled for the listener. The artists excelled with lively expression, technical precision, and excellent interplay. The sensual violin sound, full of warmth and intensity, was captivating, gently complemented by the piano, enriched and supported by the earthy tone color of the cello.