Some people say that trios are like families and everyone plays a role such as the perfectionist or the diplomat or the instigator……does this apply to Trio Kin?

Vatche: I think what is most interesting about performing in a trio is that each of the instruments bring their own soloistic traits to the table, unlike quartets where groups often focus on intonation, bowings and all that comes with developing a unique voice with four strings, a trio really is set up to feature three individuals coming together. One of the greatest trios consisting of Zuckerman, DuPre and Barenboim rarely had time to rehearse but recall the magic of bringing together such polar opposites as musicians. 

 

Do you all agree easily on musical interpretation or do you have differing views and how do you resolve these?  

Vatche: Disagreeing with interpretations is one of the most exciting aspects of being a musician, without this we wouldn’t be able to move forward and develop an interpretation which is highly communicative and effective. We all embrace the challenge. 

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Rachmaninoff’s Trio Elegiaque No.1 in G minor is incredibly emotional- where does the emotion come from and how do you respond to it? 

Emma: With emotional pieces such as these, we all bring our own lived experiences to the table. For instance, if there’s a particularly nostalgic moment, we will be drawing on different memories, in a cathartic way, but playing together, and holding vulnerability for each other. In this way, each audience member will be drawn into their own particular memories and feelings. And this is part of the magic of live music!

 

How will your approach to sound and phrasing change when you move from C.P.E Bach’s Keyboard Trio in E flat major to Mendelssohn’s Piano Trio in C minor? 

Vatche: Naturally moving from Bach to Mendelssohn will in itself just purely based on the differing language of each of these composers will arouse a different approach to sound and phrasing.  

Emma: Our aim will be to make each piece sound different - but still uniquely ‘us’. 

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How different is the preparation of repertoire that has been heard for over a century versus rehearsing and performing a piece that no one has heard before?

Vatche: To be perfectly honest, I think there’s absolutely no difference.  We respect and value what every composer past and present has to offer and the most valuable asset is to look between and beyond the notes and bar lines and try to discover the pathos behind each work.  Without this intense level of preparation you set yourself up to fail on a communication level. 

 

Your program includes works which span two centuries – from C.P.E. Bach to the world premiere by Ross Edwards. What do you hope the audience experiences from hearing this range of music in the program? 

Emma: There will be something for everyone, and we will take you on a wonderful musical journey! 

Vatche: There will be something for everyone, from Rachmaninoff, to Edwards to Bach and Mendelssohn.  And just as much as the audience will be experiencing and processing some of this music, so will we as a trio and it’s this sense of community in a performance which will propel the program! 

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Interview conducted by Catherine Barnett (BAMF Committee) March 2026

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