The latest in the University of Sheffield’s concert season at Firth Hall saw the Gould Piano Trio performing two trios from the classical tradition sandwiching a striking modern piece by James MacMillan. The Gould Trio consists of immensely experienced and talented chamber and solo musicians: Lucy Gould (violin), Richard Lester (cello) and Benjamin Frith (piano). Their 25 years-plus together was reflected in the precision of their playing and their control of balance and dynamics, especially in the Beethoven Trio.
This half-hour work, the Piano Trio No. 2, Opus 70, constituted the second half of the concert. For all the learned references to double variations and resemblances to Haydn’s Drumroll Symphony, the overall impression is of a constant stream of melody, delivered at times with passion, it’s true, and with a wonderful sense of momentum. The piece begins with a delightful slow section, each of the instruments entering in turn, before a much livelier theme ensues. The second movement (allegretto) is described as not really a slow movement and the third as not really a minuet, but both settle into a lovely lilting mid-tempo full of melody before the finale features each of the instruments in turn as it builds to a climax.
Before the interval James MacMillan’s 14 Little Pieces for Piano Trio sprang a surprise: not 14 separate miniatures, but a through-composed 20-minute piece, full of contrasts and frequently singling out one or more of the instruments: strings set against piano, cello combined with piano and so on. Benjamin Frith in particular covered a huge dynamic range, the piano part often thunderous, finishing with a series of piano chords of increasing intensity, echoed softly by Richard Lester’s cello. At another time the music entered a dream-like sequence. It was easy to understand Lucy Gould’s comment that the trio love this piece, with all its contrasts and technical demands – and they shared that enjoyment with a slightly perplexed, but enthralled, audience.
At the end of the concert, after MacMillan’s pyrotechnics and Beethoven’s sunny mastery, it was easy to forget the opener: Brahms’ Piano Trio No. 3, opus 101, but this, too, made its impact, from the drama of the opening through the dance rhythms and the emotional andante to the eloquent violin melody leading to the rousing finale.
All in all, it was a neatly contrasted concert performed with complete control and, where needed, musical fire.
Reviewed on 26 November 2025
