A dedicated String Trio is quite a rare beast - heavily outnumbered by String Quartets and Piano Trios. But string players know it to be a very satisfying combination; viola players in particular relish the unusual opportunity of being the sole inner voice. Such an opportunity is particularly gratifying in masterpieces such as the Beethoven Opus 9 no 2 trio which was the centrepiece of the Oreade’s programme. 

The Zurich-based Oreade String Trio led a receptive and grateful audience through an intriguing variety of works, two of which were not originally for the violin, viola, cello combination. The evening started with two of Haydn’s many, but rarely-played, Baryton trios (originally for baryton, viola & cello) transcribed for a regular string trio by Yvonne Morgan. Though not major works, the exquisite playing of the Oreade convinced us that these were indeed pieces worth listening to even in translation; they made a delightful introduction to the evening’s programme. 

The Oreade play with an enviable unity, phrasing as one within a magnificent range of dynamics from a carefully-balanced whisper to daunting fortissimos. Such technique was matched with deep musical understanding in a memorable performance of the Beethoven trio, which made clear why Beethoven thought his Op 9 trios were the best things he had yet written and encouraged him to at last challenge Haydn and Mozart with his Op 18 string quartets.

Schubert and ​Dvořák made up the second half: Schubert’s single movement Bb trio was played with elegant charm, while Richard Bell’s arrangement of the ​Dvořák Terzetto (originally for two violins and viola) allowed the Oreade to demonstrate their wide range of moods and styles in an entertaining and effective performance. Enthusiastic applause secured a witty encore – a brief predominantly pizzicato piece by György Kurtág. Many thanks to the Oreade for an unusual, satisfying and most beautifully performed evening.