Why as a composer Solomon Jadassohn is it little known and registered? This disc offers three piano trios quite pleasant, and they draw attention to this still confidential composer. We can find historical explanations: be German and Jew in the nineteenth was not a guarantee of an assured fame (we know who converted for that reason), and the Nazi era has banned an entire directory. We can also highlight the status of Jadassohn, professor at the famous Leipzig Conservatory, and is far less famous than the many students he has supervised. His colleague, Carl Reinecke, did he not also of the shadows? The key is perhaps elsewhere: in music. Here is an elegant writing, refined, a very pleasant music. We are very far from the composer who makes his living from his works; it is as far from the tortured and innovative mage, the misunderstood artist. This music is there to be pleasant to interpret and listen, which is not to say that it is superficial or insignificant. The alliance of the three instruments, the fluidity of writing, a clear sense of melody are found in these three trios. Moreover, both adopt a major mode, and the trio in C minor is not sad either. One hour is going well in good company, in the cozy atmosphere, nothing bourgeois, a music that seeks above all to please. The first trio is a light work, clearly inspired by the first nineteenth century. It lacks a melody easy to remember. The second line takes a four-movement structure, with a scherzo preceding the final. More ambitious, more complex, the third line is just as successful. After the drive, nothing really remains in memory, unfortunately. Wisely applied Jadassohn made a strong music, nice but not very original. No matter: Jadassohn best illustrates a musical style, a tradition that helps to transmit, and the music he composes is perhaps not revolutionary, but it is music quite charming. The instructions in English is richly documented, and the sound balanced justice to the interpretation of these "first recordings".
