THE Z.E.N. TRIO: SEEKERS OF MUSICAL TRUTH
The Z.E.N. Trio (Esther Yoo, violin; Narek Hakhnazaryan, cello; Zhang Zuo, piano): Works by Schubert, Brahms and Shostakovich, Playhouse, October 20, 2019.
Given the number of young and untested piano trios and string quartets that spring up these days, it was natural to have some trepidation about the Z.E.N. Trio, who first came together as BBC New Generation artists in 2015 and recorded their first CD for Deutsche Grammophon within only a year. Vancouver had already seen each of the exceptional artists on their own, and recognized their quality – but might it not take a little more time for the group to achieve full synergy? Yet the early praise for this ensemble is completely warranted: they play gorgeously, really think with one mind and already provide readings of striking thoughtfulness and sensitivity. Pianist Zhang Zuo is possibly the brains of the group, always bringing home structural contrasts and changes in mood through adventurous accents and varied dynamics. Violinist Esther Yoo and cellist Narek Hakhnazaryan listen to each other intently, and the former’s resilience of line superbly plays off the latter’s plasticity and tenderness. These performances of Schubert, Brahms and Shostakovich trios were special, demonstrating a natural absorption of each composer’s emotional world and revealing obvious thought in achieving balance and continuity of line in each work. Since it is always a source of intrigue, the trio’s name is based on the initials of the member’s first names, and to add even more colour, Zhang Zuo plays the piano barefoot.
Schubert’s brief Notturno has often proved a difficult work to bring off: if played with full romantic weight, its big tune can often wear out its welcome, and the work can seem rather sentimental and repetitious. The solution here was virtually perfect. The Z.E.N. Trio started very softly – as if in a dream – and then proceeded with the true improvisatory spirit of a Schubert ‘fantasy’. There were moments of energy and thrust for sure but the important thing was that the dominant, recurring theme was taken quickly and lightly, never belaboured, so there was no overbearing feeling. Dynamic control was distinguished throughout, and the sense of longing in the piece was placed in a very personal and intimate context. At points, Zhang Zuo wove almost gossamer textures.
The Brahms Op. 8 Trio (in its revised version) was equally satisfying. It moved forward with a lovely autumnal glow, both violin and cello fully invested in the composer’s melancholy and long lyrical lines, while the piano’s slightly angular phrasing added an interesting type of complexity. The feeling was quintessentially Brahmsian, naturally expressive and always opening out a broad interpretative space for the artists to develop their dialogue. I enjoyed the sheer patience in this exposition and the refined beauty and feeling which flowed from each voice. Cellist Narek Hakhnazaryan’s response to the lyricism was very special, but the tonal integration between himself and Yoo was equally noteworthy. Zuo was adventurous in the way she selectively added staccato emphasis and rubato to her phrases and spontaneous weight to the climaxes. At speeds slightly below the marked allegro, and with the exposition repeat included, the first movement turned out to be a long journey indeed. Except for a few moments towards the end where the Z.E.N. seemed slightly uncoordinated and Zuo’s piano got a little splashy, and a few other moments of intonational insecurity, it was a fully concentrated and rewarding experience. The transitions always seemed naturally motivated, and there was balance and cohesion throughout.
The Scherzo was superbly articulated though it might have been slightly too robust and angular for some tastes (it might have been more will-o-wisp), but it was the radiant Adagio which brought the feeling back again. Yoo and Hakhnazaryan entered the shadows with complete involvement, often choosing very deliberate tempos to establish a consuming stillness. The Finale completed the story admirably, again with fine detailing and a keen rhythmic sense, adding just the right amount of passion at the end.
I may have liked the performance of Shostakovich’s Second Piano Trio most of all. Its narrative cohesion was really stunning, especially from the elemental piano chords of the passacaglia to their quiet return at the end. This work receives a lot of demonstrative performances these days, aiming to unearth all the visceral dimensions of the composer’s burning pain and mental torment under Soviet rule. The Tetzlaff Trio gave us one which was pretty all-out just last year. But that is not the way of the Z.E.N.; they seem to explore a more inward consternation and, perhaps, the encroaching numbness that Shostakovich felt. It is not to say they play down the manic, out-of-control moments; they simply make the the work speak more through its inner voice and the careful balancing of structural elements than through outward cinematics.
The technically-demanding opening movement, with all the unearthly high notes for the cello, was beautifully done, withdrawn in fabric, but always searching in its paleness. The dance movement had great unity and energy, even if the Z.E.N. did not project the sliding leaps of the strings with as much drama as some groups. It was after the imposing piano chords, where the bizarre little march theme can be hammered home so insistently, that the differences became clear: Zhang Zuo hit hard with the first statement, then immediately backed off. It was the sheer balance and compelling sense of motion that the group achieved through the whirling extremes of this klezmer fantasy – full of feeling but avoiding histrionics – that made the music’s structural ingenuity and emotional reach stand out so clearly. There was genuine catharsis when the declamatory piano chords returned at softer volumes, perfectly ending the story. The encore was an endearing arrangement of Rachmaninov's Vocalise.
I can think of few finer young piano trios than this. The Z.E.N has remarkable sensitivity and intelligence for an ensemble of this age, and each artist collaborates so knowingly while speaking directly from their own emotional voice. Given the demands on each member as a soloist, let’s hope the group keeps together.
© Geoffrey Newman 2019