TrioMats today is a firmly established elite enemble performing regularly throughout the length and breadth och Sweden. Its first foreign tour, in 2001, was to Ireland, and 2002 the trio visited Lithuania. The trio´s first recording (Daphne 1016) featured three classical works for piano trio (by Beethoven, Ravel and Shostakovich). The Swedish music on this new recording demonstrates the ability of the piano trio to attract contemporary performers and to convey something new.
Anders Nilsson b. 1954 Piano trio /1998/
1. Trot [3.59]
2. Habanera [4.31]
3. Rondo [5.44]
Sven-David Sandström b. 1942
4. Fantasia II /1989/ [23.48]
Johan Jeverud b. 1962
5. Introduktion/Introduction/Einführung [1.42]
6. Spel/Play/Spiel [5.13]
7. Efterklang/Resonance/Nachklang [4.15]
Gösta F. Hansson b. 1957
8. Tribute /2002/ [8.10]
This is an amusing group made up of three guys named Mats, all Swedish musicians. They seem to enjoy themselves immensely and have found some unusual and exciting music to play for us. Anders Nilsson (b. 1954) wrote a three-movement trio in 1998 mainly made up of dance-like pieces. It is catchy and attractive music. Just so or even more so is Sven-David Sandström’s 24-minute movement, a lovely, almost Brahmsian work of considerable power and beauty written in 1989. Johan Jeverud (b. 1962) takes us back to the dance in his three-movement piece, written 1990, while Gosta F Hansson’s (b. 1957) lovely piece written in 2002 serves to cap this lively and highly attractive program. I recommend it to those of us tired of dissonance, tired of minimalism, and hungering for a good helping of something we can relate to without reservations. This is real music well played. It’s nice to know it is still alive in Sweden.
American Record Guide March/April 2004
Anders Nilsson's perky, dance-like Piano Trio makes no great modernist statements but is fiery and seductive, particularly in its middle movement, the lilting Habanera. Brahms is re-invented in Sven David Sandström's bizarre yet texturally well-written Fantasia II Its rhapsodic, Romantic language is treated with great warmth and tenderness by TioMats, the grand chordal gestures from the piano especially powerful. Johan Jeverud‚s angular, chaotic yet likeable Chamber Music, Chapter 2 brings some soloistic moments for the string players in its final movement, Resonance: violinist Mats Zetterqvist and cellist Mats Rondin offers some delicate and sensitive interplay. The brief Tribute by self-taught Gosta F. Hansson is fleeting and ethereal, with elegantly written textures, etched with subtlety and grace by TrioMats.
Catherine Nelson The Strad