The hidden little gem in question came midway between the other two works. Soir et Matin. Op.76 by Mel Bonis (real name Mélanie Hélène Bonis, 1858-1937) was a French composer, erstwhile well-known composer whose work eventually ended up neglected. Lately interest in her impressive output has made inroads into this unjust neglect. This was more evident, judging by the beauty of her Op.76, (1907). As its title suggests it is in two contrasting movements. Both are well-structured and with equal sharing of material for the performers. Soir is relaxed and laid back, dominated by a beautiful cantabile passage. The mood is one redolent with that special evening feeling of serenity evening normally brings with it. On the other hand Matin is in wide contrast, as very often many are not so fortunate in having a restful night. The kind of giddy lassitude and unwillingness to leave bed was accentuated by the violin and cello being muted for most of the movement.

The Accio Trio had begun with Haydn’s Piano 3-movement Trio n. 5, in G minor, Hob. XV:1, (1766). Haydn, so rightly considered the father of the symphony and string quartet is justly and equally renowned for his role in the emergence of the classic piano trio. They are all very delightful works.

This one performed by the Accio Trio is no exception and its charm and wit were well-projected by the Trio in smooth and well-coordinated interaction. The Minuet and its contrasting trio was elegant and stylish and followed by the concluding jolly Presto, fast but no headlong uncontrolled rush and ever with lucid articulation.

This concert’s crowning glory was Smetana’s Piano Trio in G minor, Op. 15, (1854-55) It is amazing how out of a tragic personal loss, the death of his beloved daughter Bedřiska, there emerged this very beautiful and touching work. Seeking solace in composing, he wrote a work which at times reached monumental proportions.

The members of the trio gave their all to the interpretation of this work. The tragic sadness in the opening Moderato assai was quickly established. After a while there was some respite until the tragic mood of the work eventually returned.

The multi-faceted central movement was emotionally rich with a brief allusion to the lost child, and followed by two contrasting alternative sections. One projected pastoral serenity but the other sounded very ominous. The zest and energy of the concluding Rondo finale theme built up to an extent so high that it gave way to some doleful music from the cello expressing an underlying sense of loss. Yet a master-stroke emerged at the end when a major mode took over, ending the work with a feeling of hope.

There was a very enthusiastic reaction from the audience which led to an encore which was one of the five Bergerettes H.275 Bohuslav Martinů composed in 1939.

Albert George Storace.