The last time that we featured Klein & Jamison was when they delivered a dramatic and dynamic ode to a late friend with the orchestral EP, Sailing Symphony, so when we heard that the composers were back with Piano Trio No. 2 “Mary Margaret”, which also sadly serves as an elegy to Jim Klein‘s infant granddaughter who died 90 minutes after she was born, we were curious and keen to explore the depth of what they had to offer.
The album opens with Allegro Agitato, featuring cinematic, orchestral strings and an emotive piano that manifests in a melancholic energy. The piece grows with drama and intrigue as it swells into a crescendo reminding us of early Modest Mussorgsky
. There is an undeniable instrumental mastery that comes to life. The pizzicato strings intertwine with the layered keys to create delicate ebbs and flows bringing to life dreamy, fantastical motifs, followed by more cerebral moments. The cello solo is sublime, a moment of respite before a reprise of the original melody and eventual re-build with dimensionality and a high emotional quotient. The cohesiveness of the ostinato and adagio strings fused with the piano is quite remarkable, and keeps us in awe throughout the piece. The final moments are delicate and invite introspection.This leads us to Animato which opens with a more optimistic edge. Sonically, it feels like this serves as a moment of acceptance. There is an elegance to the piece, almost heavenly. The piano solos are delicate, echoed by the strings, building into an almost hypnotic and cathartic repetition pattern. We learn a lot from the YouTube Shorts shared by the creators on their collaborative process, and this is really echoed within this track. Again, the piece builds with bass-driven drama from the piano and truly delivers compositional excellence.
Adagietto maintains the drama and cinematic allure, whilst tapping into a higher emotional quotient. The piano is bolder, whilst also creating more space between the instruments. The delicate motifs are welcome, and there is a subtle folk-adjacency with the strings. The piece also holds an almost mediative energy with its stripped-back moments. We appreciate the range of the keys, whilst it also maintains cinematic flair.
Presto Con Fuoco opens with a dynamic and intricate piano solo, evolving with brooding strings. The detail is almost psychedelic. We appreciate the existentialism and the instrumental mastery. Aligned with the title of the track, the speed that the composition manifests with is high-octane. It is also the longest track on the album, and the technical detail is truly awe-inspiring. The rippling astral keys allude to spiritual ascension, and these are juxtaposed with dramatic string chops and a dark, theatrical expression mid-way through the piece. This builds with grandeur through to the finale.
Finally, we experience Andante Con Moto, which opens with a more peaceful resonance – a sentiment of acceptance and gratitude. The strings and piano reflect each other, and we appreciate the vulnerability that manifests. There is a raw sentimentality that comes through whilst the emotional quotient remains high. Eventually, the piece taps into a lighter energy, regal in its design, a perfect send-off for Mary Margaret, a reminder that life is infinite and that the astral realm is a safe space where music, life and death can coexist on an infinite level. The positive climax is symbolic of acceptance.