Francisco Coll Piano Trio
Madrid 24 January 2022
Coll’s piece is made up of four movements; extraordinary the first, curiously based on Strauss’s opera The Silent Woman; a second based on flamenco motifs …. [which are] very well resolved technically; and two last movements full of verve and magnificent details supported by dynamic contrasts. In short, an excellent work, that I see more as four small, almost independent, works.
Jorge Fernández Guerra, El Pais, 25 January 2022
Composed in 2019, [Coll’s Piano Trio] gives the impression that, throughout those four movements mentioned above, there is a stylization of elements, if not ancient, then at least earlier. Almost historical … whose values and intensity are very suggestive. To understand them in a single reading would seem too daring on our part. But a second hearing would certainly be very worthwhile, since it is loaded with ideas that make it especially interesting.
Santiago Martin Bermudez, Sherzo, 25 January 2022
Fauré, Schubert and Brahms on Rubicon
I felt that the restrained approach of the trio should work very well in the Fauré, and it certainly did. This is one of the best versions I have heard – elegant, atmospheric and very French – and if you love this work, his last, you certainly owe it to yourself to give this a listen.
David Barker, Music Web International, December 2020
The opening to Schubert’s Nocturne… is whisperingly exquisite, a remarkable synthesis between the strings, tender, beautifully shaped, before the more abrasively intense middle section… Brahms’ Piano Trio No 1… is all played with tender and impassioned commitment here.
***** Sarah Urwin-Jones, BBC Music Magazine, Christmas 2020
With Trio Isimsiz’s impressive 2017 debut recording still lodged pleasantly in the memory, this second album – made possible through a Borletti-Buitoni Trust fellowship – is a welcome sight. What’s more, it fully meets the high bar set by its predecessor, seamlessly picking up the latter’s threads of softly measured romance and taut poise … the 1889 revised version of Brahms’ Trio No 1 in B major is presented in a reading serving as a worthy successor to the debut album’s superb Trio No 3, pulling us in from the get-go to Brahms’ intense world of passionate emotion tempered by poised Classicism, confidence and joy tempered by fragility and doubt. It’s a reading to lose yourself in, whether in the ardent sweetness and power of their forte singing, or in the myriad different qualities of silence that they serve. We can only hope that a third album eventually arrives with Brahms No 2.
Charlotte Gardner, The Strad, December 2020