La Marca excelled throughout, creating a prickly sense of foreboding. The zenith of the evening was undoubtedly the achingly elegiac third movement, Assez lent, where all musicians were exceedingly good. Here, cellist Christian Pierre La Marca really shone, enveloping the hall with a dark, sepulchral energy.
There was nothing surreal about this concert, this youthful ensemble fashioned performances that were consistently well crafted, expressively searching and technically brilliant.
The passion and precision was immediately apparent. Indeed, there have been many times where I have wanted to break out in applause midwork in response to virtuosity but restrain yourself, such was the impulse a number of times during the piece. (…) leaving the audience spiritually uplifted and crying for more…
Christian-Pierre La Marca has demonstrated that in trio, in duos or alone, he is able to compete with the greatest. Maybe simply because he belonged to them.
The work shows his abiding love for the cello, which often gets the best tunes in his late works, and La Marca’s handling of the andante second movement was a highlight. This was a wonderful nuanced performance with Schubert’s sparkling melodies shining through.
Alert, responsive and lively, this young artist explored sounds with engaging attentiveness
Certainly their performances were immaculately finished and polished, but warmer and flexible. La Marca’s soulful cello (…) contributed to a performance of great expressive breadth and intensity.
If one can say that they burn into the marble, it is because their playing, for musicians on the edge of their career, reflects a maturity, an accomplishment and a confounding perfection. Rarely Schubert’s music have held its nocturnal sabbaths under firmaments so poetically constellated.
For a first attempt, it is a masterstroke ! Their interpretation, homogeneous and expressive, modern andsensitive is worthy of the greatest.
He understood everything of Schubert (...) An understanding as sensitive as intellectual, served by an instrumental technique docile to the slightest subtleties of the text. (...) One thing is sure : he has entered the class of the great ones.
Their gamble is successful : their trios compare favorably with those of Stern/Istomin/Rose or Beaux-Arts Trio. This ensured musical vision, from an unfailing reading (...) goes far beyond the only ensemble work (...) and comes to the immediate musical osmosis. These three young people are a trio, a real one. (...) Everything leave us to believe that we have - without a doubt - found successors to the Beaux Arts Trio.
Qualities are not missing : contrasts of discourse (with a wide of dynamic range), clarity of phrasing, clarity of structure, here are so many virtues that distinguish exceptional musicians, added to a remarkable science of transitions, with a sincere expression and a real conviction.