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Trio Con Brio

  • Piano Trio


Trio Con Brio press reviews


Published: August 5, 2009

Trio con Brio Copenhagen, an award-winning ensemble consisting of the Danish pianist Jens Elvekjaer and two Korean sisters, the violinist Soo-Jin Hong and the cellist Soo-Kyung Hong. These accomplished and sensitive musicians gave a beautifully subdued performance of Mendelssohn’s Piano Trio No. 1 in D minor. Mr. Elvekjaer brought exceptional grace and fluidity to the rippling runs in the piano.

 Mostly Mozart Festival,  Avery Fischer Hall at Lincoln Center
By Søren Schauser
Copenhagen, Friday 10. July 2009

….. The Trio con Brio Copenhagen emerged a few years ago already the perfect players. But the three stars kept on working, bringing the three corners ever closer together, polishing their valuable crystal into something even greater: pure art.

Their reading of Mendelssohn’s piano trios is certainly fantastic. Don’t be fooled by the fact that it was released by the best-kept secret Copenhagen record company of them all, because the soul of the romantic period warms more than just the cockles of our hearts.

Moreover, Jens Elvekjær from Denmark on the piano, his Korean wife on the cello and her sister on the violin are superbly capable. They play differently from their colleagues from recording history: slightly less breezily than the former Beaux Arts Trio. Slightly more together than Istomin, Rose and Stern. Do listen to their new CD or catch one of the many concerts they’re giving these days. Such as tomorrow’s concert at the Tivoli Concert Hall ...

You’ll relish Soo-Jin’s slender violin playing, nod approvingly at Soo-Kyung’s cello as it generates ever increasing profundity, and admire Jens’s all-embracing piano ...

Open your eyes and take in this unforgettable dissonance of black, green and turquoise.

Open your ears and take in this perfect unity.



18/19 Juli 2009

Trio Shines in Heiligendamm



A magnificent evening it was indeed…….try and find anyone able to play a Haydn work (G major, "Gypsy Trio") in such a way as if it were completely new: with meticulous sensitivity for the many fine details and wonderful ideas, all too often flamboyantly overrun, for the incisive figurative articulation, lightness, elasticity and expressive variety. …. All musical sequences profit from an essential though unobtrusively differentiated manner of making music – practically bringing the tones to "speak". This approach rendered Mendelssohn's 2nd Piano Trio (c minor) a powerful experience of elfin lightness, was emphatic and passionate, full of melodic sweetness and ebullient vitality. All of this and more is already compositionally incorporated in Dvorak's renowned "Dumky" Trio: six movements based on the Ukrainian Dumka, lucid and to some extent brusquely contrasting. This work represents a particularly prickly proving grounds. But the Trio con brio had all the trumps in hand for making music with impressively sovereign command. A very potent performance!


By Michael Baumgartl


...upon the conclusion of the Beethoven triple concerto for violin, cello, piano and orchestra with the Trio con Brio of Copenhagen. So dynamically differentiated, without any battling between the solo instruments for the upper hand. One seldom hears this concerto so elegantly and gracefully performed as with this trio of soloists. And the sisters Soo-Jin Hong and Soo-Kyung Hong along with the pianist Jens Elvekjaer play together with such incredible precision. This immaculate ensemble playing offered rarely illuminated depths and moments of exceptional high tension within the work. A storm of "Bravo" calls and a standing ovation celebrated the singularity of the performance....

Politiken | 09.07.2009 | Kultur |


…….. The highlight of the first concert at the Tivoli Concert Hall was the great power of the Trio con Brio in Mendelssohn’s C minor trio. The three players demonstrated two of the decisive qualities that make their chamber music making so extraordinary. Each of them has so much to give each tiny little romantic episode in Mendelssohn’s music, and hence each of them continually varied the music in terms of volume, tempi, colouring and temperament, turning it into a kaleidoscopic interpretive mosaic.

This musical variety was also carried out with enormous collective determination. If there had been any differences in the rehearsal room as to the way they thought Mendelssohn should be played in the bicentenary of his birth, there was no disagreement in what the audience were allowed to hear or see. It was as if they had adopted old-fashioned democratic centralism as their musical constitution. They showed a united front to the audience. Thus their superb coordination in the devilish third movement was utterly convincing even when the score might seem to lose momentum a bit, and they made the long, slender, lines of the fourth movement elevate like a passionate hymn. All this at invariably effective tempi and with the same convincing precision the trio impressed everyone with on their Mendelssohn CD this spring………

Mendelssohns Piano Trios op. 49 & 66

Trio con Brio Copenhagen

“ Many people consider the two Mendelssohn piano trios to be the best ever written. To celebrate the Mendelssohn bicentenary the Trio con Brio Copenhagen, one of the very best in the world, with Jens Elvekjær from Denmark at the piano, have made a superb new recording of the two works.”


”. . . the Trio con Brio release comes from CDklassisk, a small Copenhagen independent, but is one of the greatest to emerge in bicentenary year. Tempos are consistently high but every detail is minutely observed in this beautifully fluid music. Mendelssohn’s music sounds as if it is playing itself, in simple phrases that follow one another, developing and commentating; it is this convincing naturalness that gives the release its great power ... Mendelssohn’s two piano trios pure and simple, with the music sticking loyally to classical models with four movements in accordance with the classical rules, themes you can hum to, and powerful finales. Yet the Trio elevate the music far beyond ordinary levels. The two slow (well, slower) movements are balmy but unsentimentally elegant, grand without being grandiose. The finales are acrobatic and fleet of foot, but nevertheless imbued with an admirable restraint that means the performance never tilt into showiness”

POLITIKEN (May 2009)