All too rarely, one encounters a performance of a work which is a near-perfect assessment of the music. That was the case in Trio Dali's account of Schubert's Piano Trio No 2.
By even the most severe of criteria, the Dali musicians' reading of this much-loved work came as close to perfection as one could ever hope. Each of the three young musicians is a master and, as an ensemble, they have an extraordinary ability to abandon their individuality in favour of a corporate music persona that makes magic of whatever it touches.
Certainly, the Dali musicians' mastery of their instruments frees them to focus on interpretative aspects. Thus, the poignancy that is central to the second movement, the blithe geniality of the scherzo and the insouciance that is the essence of the finale were revealed with faultless artistry.
I wished the performance would go on forever. I shall not easily forget this insightful account of a glorious chamber work. But this was only one of a cornucopia of musical treasures on offer. Gordon Kerry's Piano Trio No 2 is fascinating fare written with profound understanding of the medium.
On first encounter, it comes across as exquisitely wrought music redolent of anguish, anxiety and melancholy. I'd very much like to listen to it again.
Ravel's Piano Trio, too, was given the sort of insightful reading that critics dream about but only very rarely encounter. This is pitilessly demanding music requiring Olympian qualities of mind and muscle to bring it across to listeners in a meaningful sense - and Trio Dali was just the ensemble to achieve this.
It was a glorious offering not least for quality and range of tone. The Concert Hall piano sounded magnificent in the hands of Amandine Savary and the cello theme played by Christian-Pierre La Marca early in the second movement was achingly beautiful, as was every contribution by violinist Vineta Sareika.