Ethel Smyth's String Trio on Solaire records: Trio d'Iroise draw our focus onto this neglected piece

Ethel Smyth: String Trio in D Major, Op. 6; Trio d'Iroise; Solaire Records
Reviewed 2 February 2026

Smyth's early and relatively unknown string trio is the focus for the engaging yet sophisticated EP where the players' style and sophistication draw you in

For the second of Solaire records new series of EPs they turn to relatively unusual 19th century repertoire as Trio d'Iroise (Sophie Pantzier, Violin, François Lefèvre, Viola, Johann Caspar Wedell, Cello) perform Ethel Smyth's String Trio.

The German-French Trio d'Iroise was founded by Sophie Pantzier, Francois Lefèvre and Johann Caspar Wedell in the summer of 2017 at the Rencontres musicales d'Iroise chamber music festival in Brittany. Sophie Pantzier and François Lefèvre are members of the NDR Radiophilharmonie, Caspar Wedell is solo cellist of the ensemble reflektor. Previously on Solaire, the trio joined forces with the Syriab Trio for a fascinating synthesis of Bach and Arab music in Goldberg [see my review].

The trio was composed in 1884 when Smyth was 26, but not performed until 2008! Smyth would not write her first opera, Fantasio, until 1892-94 (premiered 1898) and a lot of her early music focuses on chamber music and song. Whilst her period studying at the Leipzig Conservatoire left her disillusioned she remained attached to Leipzig and her private studies with Heinrich von Herzogenberg would bring her contact with Clara Schumann and Brahms. Von Herzogenberg's wife Elizabeth von Stockhausen, who would become a friend of Smyth's, was a pupil of Brahms and the composer corresponded extensively with the couple. Elizabeth von Stockhausen introduced Smyth to her sister, Julia and Julia's husband, Henry Bennet Brewster (HB). He was the philosopher and poet who became a friend, mentor and perhaps lover to Smyth and would be involved in creating her operas. 

It was this circle, along with members of the Mendelssohn family, that formed Smyth's musical genesis in Leipzig. So it is perhaps not surprising that Smyth's musical output in the period focuses on chamber works. Her Mass in D, written in 1891, would become the first work in which the larger scale, unbuttoned Smyth was truly released. 

The string trio (violin, viola, cello) remains a relatively neglected genre and Smyth clearly enjoys the three instruments' ability to weave engaging counterpoint. There is nothing particularly Bach-like about the work, but you cannot help but remember that von Herzogenberg was the founder of the Leipzig Bach Verein devoted to reviving Bach's cantatas.

The three players of Trio d'Iroise clearly enjoy the challenge and brisk energy of the work, producing a nice sophisticated balance as the three instrumental lines weave a lively dialogue. The first movement, Allegro, launches us into a world that seems to hover between Brahms and the Richard Strauss of the sextet from Capriccio. The music is fluid and restless, with plenty of intimate playing that draws you in. The second movement, Allegretto grazioso, is again fluid and flowing with plenty of counterpoint that is engagingly impulsive. The slow movement, Adagio (non troppo) begins quietly, developing into something intense and concentrated. The Finale (Allegro molto) has the sort of unbuttoned air that we associate with Smyth (think the overture to The Wreckers). Here the vigour and energy is full of folk-ish hints too.

A whole CD of early Smyth can be too much of a good thing and by focusing on a single work, Trio d'Iroise draw our focus onto this neglected piece. You will not be disappointed.

Ethel Smyth (1858-1944) - String Trio [28.22]
Trio d'Iroise
Recorded 3 March 2025, Adelbrinsaal, Kloster Drübeck 
SOLAIRE 

Never miss out on future posts by following us

The blog is free, but I'd be delighted if you were to show your appreciation by buying me a coffee.

Elsewhere on this blog

• Anonymous no more: 16th century works from a choirbook created in Arundel & now residing in Lambeth, given voice for the first time - review 
• The Strijkkwartet Biënnale Amsterdam: punching well above its weight to the delight of its admiring international audience - review
• Letter from Florida: Verdi reminds us to grieve for and remember soldiers everywhere. Messa da Requiem from Cleveland Orchestra - concert review
• Immense sympathy for overlooked work: Elgar's The Kingdom from David Temple, Crouch End Festival Chorus & Hertfordshire Chorus  - concert review
• In sparkling form: Kate Lindsey joins The English Concert for an evening exploring Handel in Italy ending with something of a rarity - concert review
• Reviving the Queen of Sheba: American Romantics record a suite from Goldmark's once-popular first opera - record review
• Romances by Arensky & Rachmaninoff: Anastasia Prokofieva & Sergey Rybin explore songs by teacher & pupil in a recital celebrating their new disc on SOMM - article 
• A River Runs Through It: Opera Montana is celebrating the 50th anniversary of Norman Maclean’s beloved elegy to family and fly fishing in Montana with a new opera by Zach Redler - article 
• Home