Limelight Review

THE AGE: 30th April 2016

ClassikON November 2015
Streeton Trio celebrates first flush of genius
Margaret Steinberger

It’s a winning formula – attract an audience to a newly-restored small theatre to hear fine music played by a renowned professional group, then ply them with coffee and cake both before the show and at interval. It certainly appealed to the audience assembled in North Sydney’s Independent Theatre to hear the Streeton Trio’s program Young Genius.
The program featured early works by Beethoven, Enescu, Chopin and Debussy. The concert started with Beethoven at 23 years old, and closed with Debussy, who had chalked up just 18 years when he composed his one and only piano trio.
Passion and fire of early Beethoven
Each of the major works was briefly introduced a Streeton player, which gave context to the pieces and helped establish an atmosphere of warm collaboration with the audience.
Violinist Emma Jardine pointed out that the Beethoven Trio Op 1 No 3 was published by the composer against the advice of the revered Haydn, before the group launched into the piece which demonstrated that even the greats can be capable of misjudgement.
Streeton Trio’s intense commitment and close communication brought out the passion and fire which clearly characterised Beethoven from an early age. The second movement gave us a chance to catch our breath with a serene opening, before pizzicato passages introduced a surprising playful note with the instruments scuttling after each other in succession. A light-hearted third movement gave way to the fiery start of the finale, with a long balanced build-up leading into an uncharacteristically quiet finish to this revelatory work.
Romanian composer Georges Enescu’s Serenade Lointaine was the perfect foil for the fire of Beethoven. This exquisite miniature was described in interval discussion as ‘beautiful music’ and ‘just lovely’.
Chopin’s student assignment!
Pianist Benjamin Kopp explained that while Chopin’s Trio was written as a student assignment at age 19, it was also quite difficult to play. The group’s sense of attack and purpose underlined the maturity of the youthful composer’s vision, especially in the complex fireworks of the first movement. The more straightforward second movement was followed by moments in the third which truly engaged the individual instruments. A big finish rounded out the final movement.
Debussy’s Piano Trio, written before he had lessons in composition, lay hidden until it was rediscovered in 1984, as cellist Umberto Clerici informed us. I was particularly taken by the fun of the second movement, a scherzo which certainly lived up to its name; to my ears it conveyed the sense of an Eastern bazaar. The third movement gave many opportunities for the strings to sing, particularly Clerici’s beautifully mellow-toned 1758 cello. After the development of a number of different themes in the final movement, the work and the concert ended in a blaze of glory.
Unfamiliar and yet well-loved
The Streeton Trio can certainly be congratulated and thanked for a superb, committed performance that introduced many in the audience to unfamiliar works by well-known and loved composers. I also relished my first experience of this venue that, in my admittedly amateur view, has an ideal acoustic for chamber music.

Australian Review Nov 9th 2015

CLASSIKON September 2015
Streeton Trio played as one in a rewarding and enjoyable concert

Kathy Day

The Streeton Trio are a young piano trio who have been working in Europe for a number of years and are now resident in Sydney. They have been touring Australia for some months and finished up at the Independent Theatre, North Sydney last Sunday. On the program in the first half were an exuberant Mozart Trio in C and in great expressive contrast, Smetana’s masterful Trio in G minor. This was composed during the depths of Smetana’s despair at the loss of his daughter and has moments of anguish set against child-like melodies in bittersweet remembrance of the little girl. After the interval, with thoughtfully-provided coffee and cake in the delightful foyer, we heard the much-loved Mendelssohn D minor Trio.
It was wonderful to hear these performers playing as one in these works. The energy of cellist Umberto Clerici was absorbing to watch and I enjoyed his musical communication with the other players. Benjamin Kopp’s piano playing is phenomenal; he can play fistfuls of notes at very high speed seemingly effortlessly but with great delicacy, and also bring out some thundering sound from the bass notes of the huge Steinway grand at the hall. Violinst Emma Jardine plays with a gorgeous tone described as ‘silver’ by Strad magazine and as in all great chamber ensembles, the sum is so much more than the parts. It was a wonderful concert and as well as the three great works mentioned, also featured Kopp’s own arrangements of some Mendelssohn Songs Without Words and a cheeky encore of someHappy Birthday variations.
Great value for money‘ commented my neighbour as we left and it was certainly a very rewarding and enjoyable concert. How lucky we are to have musicians like this in our own city.

Hobart Mercury Review 2015

Streeton Trio perfectly balances the piano, cello and violin
August 9, 2015 6:52pm
Stephen WhittingtonThe Advertiser

Pianists often complain that they have a lot more notes than anyone else.
This complaint is not really warranted in most cases – after all, other instruments have different things to worry about, such as playing in tune.
But in the case of Mendelssohn’s
Piano Trio in D minor pianist Benjamin Kopp probably has good reason to feel that way – the piano part is a torrent of notes. What was impressive about his handling of them was not merely that he could play so many notes so quickly but that he did it with notable clarity and delicacy. But he was also forceful and dramatic when required.
His partners in the Streeton Trio – violinist Emma Jardine and cellist Catherine Hewgill – may have been less busy playing reams of notes, but they contributed admirably to this performance of one of the great piano trios of the Romantic era.
Mendelssohn knew his instruments very well, allowing both violin and cello to shine by giving them beautifully wrought melodies that used their unrivalled ability for lyrical expression to come to the fore.
The balance of the ensemble was very well judged, Benjamin Kopp’s piano never dominating proceedings in spite of have about 90 per cent of the notes.
Mendelssohn was preceded by Mozart with his wonderful
Piano Trio in C major, a mature work that perfectly blends nobility, humour, drama and pathos. This performance was insightful and spacious, the music being allowed to breathe in a perfectly natural way.
Attention to details of expression and articulation were balanced by a clear sense of the overall shape of each movement.
It was a satisfying performance, providing more evidence of the exceptional quality of the Streeton Trio.
Streeton Trio
Elder Hall Lunchtime Series
August 7, 2015


Streeton Trio performs monumental Tchaikovsky with monumental skill to a full house in Adelaide
  • AUGUST 02, 2013
  • Streeton Trio · Elder Hall · Friday, August 2

After their much-praised appearance in Adelaide last year, it was no surprise that a full house awaited the Streeton Trio for their return visit, the first of many concerts in a major three state tour.
The entire program was given over to a single work, arguably the
sine qua non of their particular repertoire, Tchaikovsky's monumental Piano Trio in A Minor.
This vast work, in just two dense, complicated movements, was dedicated to the composer's great and much-lamented friend Nikolai Rubenstein. It runs the gamut of feelings from happiness to despair, along with melancholy soul-searching, and at times, veritable howls of grief.
The trio - Emma Jardine (violin), Martin Smith (cello) and Benjamin Kopp (piano) - have achieved a very substantial result for a relatively young ensemble.
They have a fine understanding of the balance that is needed between the instruments, and especially when to allow a line to come through.
Kopp, in particular, showed admirable restraint in respect of the lush piano part which could so easily swamp the strings, and Smith's phrasing on the many rich and singing "tenor" lines was sublime.
In the astonishing second movement, a dozen variations of huge emotional diversity, the artistry was breathtaking. There was joy in the dances, listlessness and sorrow at other times, and even confidence (the magnificent fugue) and in the long coda, deep resignation.

The Streeton Trio

Sunday March 24th at 4.00pm at St Bernard’s Church Batehaven
By Elizabeth Andrews, 25/03/13

There is no better way that I can think of to head this review of an absolutely stunning concert! All aspects of the presentation were outstanding from the planning of a very well balanced and demanding programme to the execution of the same.
The choice of works and their juxtaposition in the programme was excellent. The addition of Elena Kats-Chernin’s Wild Swans suite provided a delightful contrast to the two major trios by Schubert and Mendelssohn. It was a demanding programme physically, emotionally and technically and Benjamin Kopp (piano), Emma Jardine (violin) and Julian Smiles (cello) proved themselves more than equal to the challenge presented.
The opening trio in E HobXV/28 by Haydn was played with a delicacy appropriate to the classical style of the music and each instrumental part was clearly defined as well as being a part of the whole. The second movement was certainly reminiscent of Baroque pieces – one that came to mind was the second movement of the Bach Brandenburg Concerto number 5. The finale was an example of Haydn at his most cheerful and witty and the playing illustrated this perfectly.
The Haydn trio hardly prepared the audience for the explosive nature of the first movement of Schubert’s Piano Trio No 1 in B flat! The change in style and dynamics was evident from the start and the cello theme was played with an intensity which was later matched by the violin’s statement of the theme. All in all the first movement was little short of breathtaking with dynamic and textural contrasts all contributing to the unity of the piece. In the second movement there was a beautiful dialogue between the violin and cello before the piano introduced new material and treated us to some of those pretty high octave passages reminiscent of parts of the Trout Quintet. After these two movements the third and fourth movements were less emotionally fraught and we enjoyed Schubert in a lighter but none the less masterful frame of mind.
Following the interval, Elena Kats-Chernin’s Wild Swans Suite which was arranged for the Streeton Trio this year, provided a timely change before the rigours of the Mendelssohn trio. In particular the second movement with its cheeky little melody was captivating and the eleven brothers were clearly depicted in a heavier finale.
The pièce de resistance for the evening, Mendelssohn’s Piano Trio in C minor Op66, made a wonderful finale to a brilliant concert and all three instrumentalists played with vigour and enjoyment making the overall effect most exciting. Broad flowing melodies, full textures and a magnificent climax amply illustrated the composer’s intentions and the incredible virtuosity of the players.
Ultimately the test of a successful concert is whether the players communicated the sense of the music to the audience. Judging by the rapturous applause, there is absolutely no doubt whatsoever that this end was achieved.


“The performances by Streeton Trio are simply musical perfection. Dubai is in for a night of musical genius by these inspiring young artists." 
- Brigitta Dagostin, Chairperson of the Dubai Concert Committee (April 2013)


Review from, March 2013:

Streeton Trio return triumphantly to Waikanae
By Lindis Taylor, March 10, 2013
Waikanae Music Society
Haydn: Piano Trio in E, Hob. XV/28
Schubert: Piano Trio no.1 in B flat. D/898
Elena Kats-Chernin: Wild Swans Suite (2002, arr. 2013 for piano trio)
Mendelssohn: Piano Trio no.2 in C minor, Op.66
The Streeton Trio: Emma Jardine (violin), Julian Smiles (cello), Benjamin Kopp (piano)
Waikanae Memorial Hall

10 March 2013, 2.30pm
The Australian Streeton Trio made a hit in Waikanae last year, and they certainly maintained or even enhanced their reputation this time, albeit with a different cellist; their regular cellist, Martin Smith, injured his wrist in an accident, and so was replaced for this tour by Julian Smiles.
The Haydn trio was unfamiliar to me, and proved to be an enchanting work containing quite a lot of fun.  The opening allegro revealed great clarity from the players, as they alternated rather folksy pizzicato phrases (the pizzicato echoed on the piano also) with lyrical ones.  The trio was titled by Haydn “Sonata for the piano-forte, with accompaniment for the violin and violoncello”; this title the performers observed, not only when the piano had solo passages.  The rhythmic variety of this movement was just one of its many delights.
The solo nature of the piano writing was even more to the fore in the allegretto slow movement.  It characterised by baroque elements, and the playing style of the strings, using little vibrato, was appropriate.  It was certainly the most sober of the three movements.
A cheerful allegro finale rounded off the work with playing that was both delicate and lively; vintage Haydn, given a very polished performance.  The forte chords that concluded the movement would have been a wake-up call to any lulled to slumber by the gentle elegance that preceded them – and by the warm hall.
The Schubert trio is one that I am perhaps too familiar with.  I have a recording of the Odeon Trio performing it, and had a cassette tape for many years of the Beaux Arts Trio playing the same work, which accompanied me frequently in my car.  However, it is a very different experience to hear the work played live in concert, to see the players negotiating their instruments with apparent ease and expertise, and to hear the nuances of the music in space.
The sparkling first movement is wonderful for the cellist.  In this long movement there is much delicious interweaving of the parts.  The beautiful opening cello solo with piano accompaniment sets the pensive tone of the andante slow movement.  This wonderfully gentle movement was played with finesse and subtlety.  The many imaginative figures were given their due, and performed sympathetically and with beauty of tone.  Nevertheless, there were a few slightly untidy passages here and in the finale.
The scherzo (allegro) was taken at a fairly fast pace; its trio was quite lovely.
The rondo finale tripped along delightfully, with its dance-like idioms.  There was an impressive fluttering technique employed by the cellist as part of the many luscious elements in this movement.
The Streetons played with excellent balance, no one instruments dominating, and gave the audience a marvellous taste of Schubert at the height of his powers.
After the interval, we were treated to an Australian composition.  I had come across the name Elena Kats-Chernin before – last year, in the concert by the Vienna Boys’ Choir.  They sang
Land of Sweeping Plains written especially for them by this Tashkent-born, Moscow and Sydney-trained composer.  The lavish printed programme for that concert contained three coloured photographs of the composer, two of them with members of the choir.
The piece we heard on Sunday was an arrangement by the composer of music she wrote in 2002 for a ballet based on Hans Christian Andersen’s story.  The first movement, ‘Green Leaf Prelude’ began with attractive watery sounds from the piano, followed by pizzicato cello, and on violin.  These passages led to long bowed notes on violin with a melody on cello, later joined by the violin, while the piano continued its watery accompaniment.
The second movement (‘Eliza’s Aria’) consisted of a jerky dance, the piano again sounding aquatic.  Pizzicato cello with bowed violin featured here, and then the roles were reversed.  The sustained melody was similar to the previous pizzicato tunes.
The third movement (‘Brothers’) was notable for dotted rhythms on all three instruments.  This is not a profound work, but evocative, jolly, and well crafted.
Mendelssohn’s genius is nowhere better demonstrated than in his chamber music.  The first thing I noticed was his brilliant piano writing – though at the beginning of the Piano Trio no.2, I found the piano a little over-pedalled for my taste.  The allegro was vigorous, but there were many subtle passages intervening.
The andante second movement had a profound opening on piano; this was lyrical beauty at its best.  As the excellent programme note stated “It is graceful, reminiscent of Mendelssohn’s
Songs Without Words… evokes images of A Midsummer Night’s Dream”.
A complete change of mood for the scherzo had the strings trotting along together, accompanied from glorious cascades from the piano.
The allegro appassionato finale lived up to its name; in places, it could almost have been written by Brahms.  The entire performance was very satisfying, and richly deserved the audience’s enthusiasm, which gave rise to a wonderful encore: the romantic andante second movement from Mendelsssohn’s first piano trio, in D minor.  It began with an extended piano solo – another song-without-words-like sequence of exquisite beauty, to close a memorable concert full of nuances that expressed so many emotions.

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Review from THE STRAD Magazine, December 2011

Just let the music flow

The most successful piano trios at this year's Trondheim International Chamber Music Competition simply let the pieces speak for themselves, says Carlos Maria Solare

THE STREETON TRIO from Australia has also chosen a painter - the Australian Impressionist Arthur Streeton - as its guiding inspiration. The group began with a beautifully modelled Mozart K502, in which Martin Smith made much of the unassuming cello part by virtue of his variegated articulation. The beginning of the second movement was hauntingly phrased by pianist Benjamin Kopp, and all three players - Emma Jardine is the eloquent, silver-toned violinist - were very much alive to the composer's harmonic subtleties. The Streeton's Ravel was a well-rounded reading with some powerful climaxes. If the players couldn't completely disguise the longueurs of Brahms's Op.8, the scherzo's middle section soared beautifully, and the finale packed real punch. I wasn't the only audience member to be disappointed that the Streeton Trio didn't go on to the final. {...}
Game of Three, the TICC's commissioned piece, was a ten-minute-long riot of colour that included birdsong-like chirping, knocking on wood and other special effects, among which snatches of melody were thrown back and forth between the instruments, leading to a final, passionate outburst. Most groups did a wonderful job with this devilishly difficult work{...} No official prize was awarded for the best interpretation, but at the end of the semi-finals day the composer picked out the Streeton Trio, which had crowned its lyrical reading with an impressive build-up to the final climax, for a forthcoming CD recording. - THE STRAD DECEMBER 2011

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Ast01 Australian Streeton Trio performs at the Anhui Art Theatre on November 4th

From November 1st to 12th, the Australian Streeton Trio toured in China for the first time, giving four excellent concerts in Beijing, Shanghai, Hefei and Nanning.
Streeton Trio belongs to the international top of chamber music. They garnered many international accolades and always perform in different countries throughout the world. Their performances originate from the European classic style, but they also incorporate natural and creative elements. During their China tour they played the classical pieces: Haydn's
Piano Trio in C Major Hob XV/27, Schubert's Adagio D897, Notturno, Piazzolla's "Primavera Portena" from The Four Seasons. In addition, they played the very special piece "The Spirit and the Maiden", which was composed especially for the Streeton Trio, by the Australian contemporary pianist Elena Kats-Chernin and tells an ancient Russian love story. The Chinese audience was impressed by the Streeton Trio's technique skills and deep understanding of music.

Review from
, August 2012:

Australian Piano Trio delights Waikanae
By Rosemary Collier, August 5, 2012
The Streeton Piano Trio (Benjamin Kopp, piano; Emma Jardine, violin; Martin Smith, cello) (Waikanae Music Society)
Schubert: Piano trio no.2 in E flat, D.929 Haydn: Piano trio in D, Hob XV/27 Ravel: Trio for piano, violin and cello
Waikanae Memorial Hall
Wednesday, 5 August 2012, 2.30pm
Sunday’s programme was a good one; though all the works were familiar, they were contrasting in period of composition and in character.  The Streeton Trio (made up of Australians based in Berlin) gave the audience a broad spectrum of great works for piano trio.
Schubert’s glorious trio is always a delight to hear.  The Streeton Trio made a wonderful build-up of tension and played beautifully, apart from some low cello notes being off-pitch near the beginning.  However, things improved, to render the lyrical quality of the first movement in tender fashion. Worrisome bottom-string notes returned briefly – was the C string slightly out-of-tune?  I noticed that the cellist tuned it slightly after the second movement.  As the programme note states, the first movement is ‘in turn energetic and uplifting, restless and troubled’.  It was always interesting.
Between the first and second movements there was a surprise: the pianist spoke to the audience introducing the Swedish folk song on which the initial melody in the
andante con moto second movement was based.  He and the violinist then played the song.  In the movement itself, the melody was played beautifully on the cello, and then decorated by the piano.
Piano and violin were lovely to hear, the pianist playing in a manner appropriate for the period.  The third movement, a sprightly
scherzando, was many miles removed from the soulful music that preceded it.  There was delicacy, but muscular energy also; the mood was light and lovely.
I noted that the acoustic was not the best for Schubert’s music: the jolly opening of the fourth movement (allegro molto) brought forth a lively tone, but there were times when I wanted rather more mellowness.  The gorgeous melody from the second movement returned on the cello against pizzicato violin, and sublime passages followed.
Speaking of mellowness – the tweaking of programmes in the audience could be an irritant in quiet passages; a change to a better quality of paper might help to lessen this small problem.
An elegant, quick opening to the Haydn trio revealed the pianist’s ability to make the grand piano almost sound like a fortepiano.  His playing was always delightful and utterly sympathetic.
Sitting nearer to the front of the hall in the second half made, I found, a considerable difference to what I heard.  In the graceful introduction to the slow movement, played with rubato at the ends of the phrases, I could imagine myself in a late eighteenth- century drawing room, such was the intimacy conveyed.  The sparing use of the sustaining pedal, and of vibrato on the strings were part of this effect – but these features did not mean that there was any lack of warmth in the playing.
The fast dance that was the presto final movement had its jauntiness exploited to the full, yet it still had grace as well as jollity.
The Ravel Trio is often performed; when all the subtleties are brought out as in this performance, it is a pleasure to hear.  The sonorous opening was beautifully varied.  The tempi were well-managed, and we heard some superb playing here.  Again, the piano was outstanding.  The Streeton Trio has recorded both the Haydn and the Ravel works, so they know obviously them well.
The delightful grasshopper of the second movement, marked
Pantoum (a form of Malay verse) assez vif, jumped, was at rest, and then flew.  The music was very well delineated, whether soft or loud.
passacaglia third movement was, by contrast, solemn, almost liturgical and elegiac.  There was a steady conversation between the parts.  In the latter part of the movement, the use of mutes on the strings gave an ethereal effect, especially where the strings played without piano.  A sombre song on the cello followed; the piano ended the movement.
In the Finale (
animé) the strings trilled harmonics while the piano played a quick passage, followed by solo violin with pizzicato on the cello.  Glissandi and grand chords for the piano were examples of the Spanish influences in Ravel’s music.  Plenty of contrast in dynamics featured, but overall there was a lightness of touch before the thrilling ending.
A musical treat was had by all who attended.

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Review for the Streeton Trio’s second CD, "Elation":

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Review from The Adelaide Advertiser,
March 2012


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Reviews for the Streeton Trio’s Debut CD
Ravel • Brahms


Ravel: Trio for piano, violin
and cello in A Minor
Brahms: Piano Trio No 1 in
B Major
Streeton Trio
At first glance these two
works may seem like strange
bedfellows, but given their
compatible lyrical styles (did
Brahms ever write anything
as genial?) they make very
impressive bookends – especially
in the hands of this first-class
Australian trio.
Written on the eve of WW1,
Ravel’s Trio is one of the wonders
of the age. The ten-minute first
movement opens in deceptive
mood, elegant and dreamy. This
quickly gives way to restless
energy, and so the music
continues, swinging between
the two extremes. The spiky
scherzo is interspersed with
yearning passages for the violin;
the piano bounces around
happily, darting in and out of the
strings as if trying to stay out of
the way. The slow movement is
in a striving, darker mood, and
the finale brings us back to
Ravel’s optimistic style, buoyant
and full of life.
The technical demands and
wide range of expression required
to bring the work off successfully
are all here. There are many
accomplished recordings of this
wonderful work, and this is one of
the finest I have heard.
Brahms wrote his marvelous
trio in his early twenties and
revised it many years later.
Straight from the opening passage
with its broad and embracing
theme, the composer brings us
warmly into his world of civilised
and passionate music. The young
trio of Australian expats, named
after the great landscape artist
Arthur Streeton and formed in
Geneva in 2008, are almost as
much at home in this music as
they are in the Ravel. JM

• • • • • • • • • • • • • • • •
Review by Dr. Chris Dench (Thomas’ Music, Melbourne) | Wednesday, July 27, 2011

It is a mark of the seriousness of purpose of this new trio of Australian Musicians that on their début CD they have tackled two of the most substantial works in the genre, Ravel’s single Piano Trio, and Brahms’ first, in its tautened 1891 version. The choice of repertoire is interesting—the two works have both a formal and textural similarity, albeit superficial. The first movement of the Ravel is particularly tricky, with an exquisite main theme full of rhythmic pitfalls, and the Streetons negotiate these with real poetry, picking an absolutely convincing tempo, neither leisurely nor urgent but underlining the nostalgic melancholy of the movement. Again, in the mercurial  second movement, Pantoum, the tempo is close to ideal and the playing has great vivacity. They take the grand Passacaille that comes next at a markedly slow tempo and much to their credit it is entirely successful, reminding us of the 17th century origins of this distinctive musical form; their performance has a melancholy solemnity without losing the characteristic Ravel sophistication. The Finale draws all the preceding threads together, and the Streeton’s reading gives this last movement a fiery, culminatory power.


The Brahms First Trio, by contrast, begins almost amiably, insinuating us into his genial soundworld without fuss, and the measured way the Streeton Trio build tension in the first movement has a beautifully idiomatic expansiveness. They manage to sustain a plateau of intensity that gripped me throughout this mellow work. The second movement alternates delicacy, in the horncall-like first theme, with an exemplary lyricism in the sweeping Trio section, and while the ensuing slow movement is perhaps less full-blooded than would be ideal, it is certainly charged with the sense of resignation that makes Brahms’ Adagios so poignant. The concise Finale is strongly turbulent with an anxious energy that drives the music towards a powerful climax.


The recorded sound, perhaps a little better in the Ravel than the Brahms, has a pleasing naturalness and intimacy; although a self-issued CD the production values are excellent. It is quite clear that these young players have entirely identified with this repertoire—their unerring exactitude of tempo and mood is almost psychic. I look forward to seeing how they develop. But in the meantime, you could support them by buying this excellent CD…

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REVIEW | Thursday 07 July 2011
Streeton Trio
Review by Kate Rockstrom, Readings Carlton
Have you ever heard of the Streeton Trio? I hadn’t until I saw the line up for the 2011 Melbourne International Chamber Music Competition and it turns out they’re the only Australians to make the cut this year. My attention was caught and I was very interested to hear their debut recording. With a limited release this is an album worth seeking. Each musician is strong and independent in their style with moments of great lyricism between the three of them. Featuring the Ravel Piano Trio in A minor and the Brahms Piano Trio in B Major, this shows three mature young musicians out to make their mark.

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Review from Le Ménestrel, Geneva, Switzerland
Geneva’s Specialist Classical CD Store | Tuesday 14th June, 2011

Nous avons beaucoup apprécié le nouveau cd du Trio Streeton Ravel/Brahms. C'est un beau programme que le Trio Streeton joue avec beaucoup de sensibilité et de musicalité. La qualité sonore de l'enregistrement est par ailleurs remarquable et le visuel du cd est soigné. Mais c'est la musique qui prime et elle est bien là sur celui-ci...

English translation: We very much appreciated the new CD from the Streeton Trio of Ravel/Brahms. It is a beautiful program that the Streeton Trio performs with a lot of sensitivity and musicality. The sound quality of the recording is remarkable and the visual of the CD is well put together. But it is the music that is the most important thing, and this is well there on this disc…