#dumky

The Album: Dvořák - Piano Trios Op 65 & 90

In my opinion Trio Wanderer is one of the best piano trios active today so I was looking forward to their new release of Dvořák’s best known piano trios, Op 65 and Op 90 (known as ‘Dumky’). But when I heard it I wasn’t that impressed. It sounded tentative and careful, almost joyless, which is a cardinal sin in Dvořák’s music. I will still hold some of Trio Wanderer’s recordings high, especially their Schubert, Fauré and Saint-Saëns, but this was not among their best.

But by coincidence I discovered that another trio recorded the same Dvořák works last year and that they had received a lot of good reviews. On top of that, they had the guts to name themselves after one of the most famous chamber musicians of all time, Adolf Busch. The Busch Trio was formed in London in 2012 and consists of the Israeli brothers Omri (piano) and Ori (Cello) Epstein and the Dutch violinist Mathieu van Bellen (who incidentally plays on a Guadagnini that belonged to Adolf Busch).

The Busch Trio’s Dvořák is something of a revelation, probably the best recording of any chamber music by Dvořák that I’ve heard in years. Their playing is remarkably tight, rhythms are crisp and precise (essential in Dvořák) but at the same time they never come over as dry or clinical. The sweetness of Dvořák’s gorgeous melodies is there at all times and they are always ready to let the sunshine in.

For someone who wants to sample the Busch Trio, just listen to the third movement of the ‘Dumky’ trio. After the hushed introduction Ori Epstein’s cello emerges as from a fairytale. Bellen’s violin takes over accompanied by crisp details from the other members. The cello returns with the strumming motive that should recall a guitar played by the fire before the strings lead the movement to a close. It’s wonderfully played and all you could wish for in Dvořák. The Busch Trio not only handles Dvořák’s slow movements excellently, but are also able to whip up a storm when needed, for instance in the wild finale of the ‘Dumky’.

Dvorak : Piano Trio Opus 90 in E minor “Dumky”. II movement “Andante”

- PerformsTriple Forte FFF trio.

Composer: Antonín Dvořák (1841 - 1904)

Work: Dumka III. Andante - Vivace non troppo from Trio No. 4 "Dumky" (1891)

I am reminded of this story because now that I am actually in the US, I've seen neighborhoods where I thought: "How typical American". But why is it so typical? And why do I instantly feel something odd looking at that picture in the magazine, when it's only the pavement that's a little different. I believe that the way our environments are designed and planned heavily influence our perception of a city or neighborhood. The houses and buildings, and how they're designed, tells something about the people living there. We're so used to the streets we walk on, the roads we drive through, that it's only when abroad that we are confronted with the differences. And, not in the least, the effects those differences have on us.

I came to the US expecting to find out more about the coming elections. About people's perception of it and the way they feel about American politics in general. What I've come to find is that —as could be expected I guess — politics is only a part of a culture that slowly I begin to understand more of. I'm still struck by odd things like canned spaghetti bolognese and supersized sodas. But those are the extremes of a country that is so very diverse. In heritage, in political views, in clothing, thinking, anything really. "There is no such thing as the average American", Ken, a libertarian and independent voter, told us the other day.

But those extremes, especially when it comes to eating, seem odd to a lot of Americans as well. Mike, the manager of a shoe store in Nashville told us that he just doesn't get it. Why would you want to poison your body by going to McDonalds for breakfast, lunch and dinner and then sit behind your desk for the rest of the day. "And the worst part of it, is that we have to pay for it. Even though I go running every other day to keep fit." It seems though that the way this country deals with food is formed by a certain structure. Just like the large distances and poor public transport encourage car use, the idea that more food is better is the base of a structure that encourages bad eating habits. It's the free refills, the "don't you want the extra chips and cheese dipping for only 80c more?". It's part of a genuine tendency to give and share, but it's killing at the same time. Literally, if you look at the amount of obesity in this country. 

It is all part of a larger culture that, as a whole I must admit, I have fallen in love with. But the example of the suburb I mentioned earlier is not randomly chosen. I feel that the physical manifestation of this culture can be found in public spaces. It is on the one hand the large sidewalks that encourage encounters with strangers, and on the other hand it's the largeness of the whole city plan that forces car use. Thus you will find large empty planes of concrete around every other corner filled with cars and desolate of any other form of life. And you will find that anyone who can touch the steering wheel and the gas pedal at the same time owns a car. It's the green spaces, the parks, the trees, the front yards, the back yards, that are everywhere, and at the same time you are overwhelmed by the amount of concrete, steel and neon.