Jorge in Chamber Music

A rare performance of Jorge in chamber music

2 July 1968

Plaça de Sant Felip Neri, in the Gothic Quarter [Barrio Gótico], Barcelona, Spain

Chamber music: trios by Ravel (in A minor, 1914) and Tchaikovsky (in A minor, Op.50) with Victor Martin & Marco Seano

​In Destino (13.7.1968), J. Casanovas writes: ​'The tradition of serenades during summer nights seems to have taken firm root, as is often the case with things that are well thought out and executed. The programme consisted of Ravel's "Sonata for Violin and Cello" and Tchaikovsky's celebrated "Trio," Op. 50: a short but interesting programme, and above all, well executed, with seriousness and competence. (...)  To tell the truth, we would have liked to hear Jorge Bolet perform a different work—perhaps one of the frequently played pieces by Schubert or Schumann—since we have a very strong impression that something is fundamentally amiss in this score. The balance between the piano and the two opposing string instruments, for instance, is highly questionable. This almost invariably results in a confusing effect: the piano constantly drifts toward the role of a substitute for the hypothetical accompanying orchestra of a would-be "double concerto." Conversely, when the piano takes a leading role—acting as the soloist in this concertante work—the strings are relegated to a falsely schematic accompaniment. In any case, the piece is an example of unbridled lyricism, a blend of undeniable triumphs and equally palpable weaknesses. It was with this work that the famous Barcelona Trio—comprising pianist Vives, violinist Perelló, and cellist Marés—achieved its greatest successes fifty years ago.'

Augusto Valera, El Noticiero: 'The atmosphere of the Plaza de San Felipe Neri can truly be described as delightful—cool and peaceful—even when one has to endure the chiming of eleven and twelve o'clock from various city clocks, the roar of jet engines, or the occasional neighbor. Yet, even setting that aside, the location possesses wonderful natural acoustics, and the stately atmosphere adds even more to the experience.  (...) The interpretation of Jorge Bolet deserves a separate chapter. He is a true soloist whose mastery of the piano is total, both in the technical aspect and in the expressive aspect; A man of strong musical personality and marked temperament whose way of doing things is linked to complete interpretive mastery; perhaps this quality stood out even more considering the special structural conception of Tchaikovsky's fascinating trio conceived more in the manner of a "concerto" than in the chamber music form...'