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Andrew Mellor
Gramophone, August 2016

Sørensen’s piano trio Phantasmagoria is a precursor to his triple concerto and headlines this disc (trio works by Hans Abrahamsen and Per Nørgård hardly lessen its appeal). Phantasmagoria speaks of the fading memory of Romanticism and contains some remarkable writing, most of all, perhaps, the surging repetition of single notes at provocatively differing volumes in the Misterioso e meccanico movement. © 2016 Gramophone

Joshua Kosman
San Francisco Chronicle, January 2014

The three piano trios included on this haunting disc are by different composers from two generations, but the Danish flavor…is unmistakable throughout. The great treasure here is Per Norgard’s “Spell,”…It unfolds across 15 minutes of sensuously patterned music…with bursts of harmonic splendor alternating with unpredictable dissonances. The works by the younger composers—Bent Sorensen’s “Phantasmagoria” and Hans Abrahamsen’s “Traumlieder”—are more self-consciously eclectic, shifting restlessly across movements from vague, fog-bound soundscapes to puckish invocations of Romantic-era modes. But they too share with Norgard a quizzical and wondrously ambiguous attitude to traditional harmony and form, and all three works get sleek, vivid performances by the Trio con Brio Copenhagen. © 2014 San Francisco Chronicle Read complete review

David W Moore
American Record Guide, September 2013

Trio con Brio is a fine group for this program, playing with poise and violence by turns and giving us an involvement in the proceedings that makes this a rather special production. They are recorded in clear, warm sound that invites them to produce their world with beauty and gives us a program of fine new music that I am happy to recommend. © 2013 American Record Guide Read complete review on American Record Guide

David Denton
David's Review Corner, May 2013

You can either love or hate modern chamber music, but if you are still making up your mind, this disc of three Danish piano trios will, at least, be most interesting. There are so many current influences from Minimalism, through traditional tonality and on to hardcore atonality. From a time scale, Per Norgard’s Spell, from 1973 is the earliest and the most undiluted in its Minimalism, the subtle changes of harmony in the repeated rhythmic patterns providing the most absorbing and—to my ears—beautiful music. Hans Abrahamsen’s Traumlieder, whose roots date back to 1984, but eventually appearing as a piano trio in 2009, will give you the major problem of finding the right volume level in a performance whose dynamic range is so large. He flits in and out of Minimalism—usually just in the backdrop rhythm—and between tonality and atonality. Formed from six short movements, often dreamlike in quality, that mood is shattered in the scherzo with the screeching violin, just as if the dream has become a nightmare. Bent Sorensen’s Phantasmagoria uses the mode of repetition in a more elongated form, the music and rhythm of the opening movement so blurred that it is as if layered then skewed. It too has dreamlike qualities, at times the dream becoming strangely erotic—something you can picture yourself in the third movement. Then eerie sounds of a melody of yesteryear, the three instruments never coming together in the final dolcissimo. The two last named works were first performed by the Trio Con Brio, the admirable and multi-award winning ensemble now based in Copenhagen. It was formed fourteen years ago from Korean sisters, Soo-Jin and Soo-Kyung Hong and the Danish pianist, Jens Elvekjaer. © David’s Review Corner

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