How did you start playing together?
We met at the Guildhall School of Music and Drama, and started playing together in our first week.
 
How do the three of you & your personalities fit together as an ensemble and come out in your playing?
The great thing about the trio combination is that it allows our musical personalities to shine through without compromising the ensemble. We all have our diva moments, even the cellist!
 
Why the name ‘Mithras Trio’?
We get asked this a lot! The short answer is, we like the sound of it! Mithraism was a popular religion during the Roman Empire, featuring plenty of bold and striking iconography - the God Mithras slaying a bull etc. In Sanskrit the word Mitra also means ‘friend’ or ‘friendship’ - appropriate for a chamber ensemble!
 
What has been your favourite musical experience as a trio?
Performing at the Trondheim International Chamber Music Competition in 2019 has been a highlight for us. The intensive preparation of a wide variety of repertoire, coupled with the beautiful hall and sense of occasion made it a wonderful experience.
 
What are rehearsals like for the trio? You’ve worked with some amazing tutors, for example the Emerson Quartet, Takács Quartet, and Levon Chilingirian: what’s been your favourite coaching session & why?
We always argue a lot, and love to really get underneath the skin of the piece. We’ve also been lucky to worth with a great variety of incredible coaches. It’s too hard to pick a favourite - all our coaches bring something different, and equally valuable!
 
How have you found the last year, largely devoid of concerts?
The loss of audiences and concerts has been a real blow, but we’ve continued rehearsing, learning new repertoire and giving live-streamed concerts where possible. In some ways it’s been a blessing, as we’ve learnt to use our rehearsal time more efficiently - but we are certainly delighted that we can have an audience again!
 
Tell us a bit about the programme you’ll be performing at the Festival. Why are you playing these works?
These are three of our favourite pieces - Schumann’s second trio in F major is less often performed than the first, but just as remarkable, full of humanity and vitality. Lili Boulanger was the younger sister of Nadia (who taught many of the great 20th-century composers at the Paris conservatoire), and died tragically young. The small volume of works she left behind are of remarkable quality, not least of which this work, ‘D’un Matin de Printemps’. One of the last pieces she completed, its rich harmonic palette, melodic invention and wealth of orchestral colours and textures are a delight to perform. We’re finishing the programme with Schubert’s monumental Trio no.2 in Eb. Certainly one of (if not the) pinnacles of our repertoire, it takes listener and performer on a journey of discovery. It’s one of those rare works that can reveal new inspiration and ideas with every listening.
 
Schubert’s second trio is one of the great works in the piano trio repertoire. What’s it like taking on a piece like this that is so well-known, and has such masterful performances out there?
The wealth of recordings is normally a bonus, as we can use them for inspiration during the learning process! It certainly comes with a great sense of responsibility, but never in a deferential or academic way - for us the most successful performances (and indeed recordings) are the ones which feel fresh, joyful and genuine.