Violinist Livia Sohn, cellist Luigi Piovano, and pianist Bernadene Blaha came together to form Latitude 41 in the summer of 2009, as a result of their previous musical collaborations and mutual passion for chamber music. Since their formation they have appeared globally, to high acclaim.
Highlights of Latitude 41 appearances include a concert presented by Carnegie Hall in their famed Zankel Hall in New York City, Music in the Morning in Vancouver, Noe Valley Chamber Music in San Francisco, Chamberfest in Ottawa, Maverick Concerts in New York, Music in Deerfield in Massachusetts, the South Windsor Cultural Arts in Connecticut, Bay Chamber Concerts in Maine, the Da Camera Society in Los Angeles, the Newport Music Festival in Rhode Island, the L’Ermitage Foundation in Los Angeles, and “Sundays Live” at the L.A. County Museum of Art.
This past season saw Latitude 41 featured in a debut appearance on the series Tertulia in New York City, concerts in Madrid (Cita con los Clásicos), Lanciano, Italy (Estate Musicale Frentano), and Rome, for the prestigious Filarmonica Romano series, as well as the Musical Club of Hartford in Connecticut.
Highlights of future appearances include return recitals for Music in Deerfield in Massachusetts, Maverick Concerts in NY (America’s oldest continuous summer chamber music festival), and The Newport Music Festival in Rhode Island, as well as first-time appearances in Venice, Italy at Palazzetto Bru Zane Center, and the prestigious Music Worcester series in Massachusetts.
Latitude 41 released its debut CD in 2011 for the label Eloquentia with the monumental Schubert Piano Trio in E flat, and Schubert Notturno. In March 2015 the trio released their second recording for Eloquentia, the piano trios of Camille Saint-Saens. Says the critic Jon Sobel of the recording: “Right from the opening figures, the trio shows off a sense of spontaneity to go with the virtuosity of pianist Bernadene Blaha, violinist Livia Sohn, and cellist Luigi Piovano. They bring all the necessary fire to the heated, emotionally charged, technically complex first movement, a brilliant yet accessible statement of independence.”
The latitude of the trio’s first performance venue in Rhode Island, and also where cellist Luigi Piovano makes his home in Rome, Italy, are both Latitude 41.
Livia Sohn performs widely on the international stage as concerto soloist, recitalist, and festival guest in Europe, North America, South America, Asia, Africa, and New Zealand. This past season saw Livia performing such wide-ranging concertos as Paganini and Bruch to Britten and Rorem, with orchestras in North Amercia as well as in China and Italy. Highlights from this season sees Livia playing Dvorak and Barber Concertos in Los Angeles and Budapest, as well as recitals in Tokyo and New York. In 2007, a concerto called “Jiyeh”, by Israeli-American composer Jonathan Berger, was written for and premiered by Livia. In 2011 “Jiyeh” will be released on CD together with the Britten Violin Concerto. Livia gave her first public performance at age eight. In 1989, at the age of 12, she won First Prize in the Yehudi Menuhin International Violin Competition. She attended the Juilliard Pre-College Division from the age of seven, at which time she began her studies with Dorothy DeLay and Hyo Kang. She continued under their tutelage at the Juilliard School, where she also studied chamber music with the legendary Felix Galamir. Livia plays on a J. B. Guadagnini violin crafted in 1770 and a Samuel Zygmuntowicz made in 2006. She has been on faculty at the Music Department of Stanford University in California since 2005.
Luigi Piovano started studying music at the age of five with his father Antonio Piovano, pianist and composer. At the age of 17 he received his diploma with first-class honors. Due to a scholarship he won at the International Menuhin Music Academy, he performed all around the world as a soloist under the baton of Lord Menuhin. He then earned a diploma in cello and chamber music at the European Conservatoire of Music in Paris. He has recorded for EMI, Nuova Era, Opus 111, Eloquentia. He is the First Soloist Cello of the Symphony Orchestra of the National Academy of Santa Cecilia in Rome and since 2007 he has been the First Soloist Cello guest of the Tokyo Philharmonic Orchestra with which he has performed Haydn Concerto under the baton of Myung-Whun Chung. Since 2008 he is the Artistic Director of the “Estate Musicale Frentana” in Lanciano. He plays an Alessandro Gagliano dated 1710.
Bernadene Blaha’s “brilliant command of the piano”, whether featured as recitalist, concerto soloist or chamber musician, has been heralded in performances throughout North America, Europe, Australia, Asia and Mexico. Recent highlights include performances with Netherlands’Amati Ensemble at the Concertgebouw, Amsterdam; and Schloss Mirabel, Salzburg. A highly regarded chamber musician, Ms. Blaha has appeared at The Newport Festival, Tucson Chamber Music Festival, La Jolla Summerfest, Bard Festival, Australia Festival of Chamber Music, Banff Festival of the Arts, and Festival de San Miguel de Allende, Mexico. Originally from Canada, Ms. Blaha first came to international attention as a prizewinner in the Montreal Symphony Orchestra Competition; the Young Keyboard Artists International Piano Competition, Grand Rapids, Michigan; the Masterplayers International Competition, Lugano, Switzerland; and the 11th Annual International Piano Competition, New York City. This latter award resulted in two highly acclaimed recital appearances, at Carnegie Recital Hall and the Lincoln Center Library. Soon afterward, Ms. Blaha was featured in the opening orchestra concert and a solo recital at the XXIX International Chopin Festival in Marianske Lazne, Czechoslovakia, followed by solo recitals at the Phillips Collection in Washington, D.C. and in London, England. Ms. Blaha currently resides in Los Angeles, and since 1993 has been a member of the Keyboard Faculty at the Thornton School of Music, University of Southern California where she is an Associate Professor.
Beethoven “Ghost” Trio, op. 70, no. 1
Shostakovich Trio No. 1 in c minor, op. 8
Saint-Saens Trio No. 2 in e minor, op. 92
Saint-Saens Trio No. 1 in F major, op. 18
Dvorak Trio in f minor, op. 65
Beethoven Trio in E flat major, op. 1 no. 1
Brahms Trio No. 2 in C major, op. 87
Chausson Trio in g minor, op. 3
(All Russian Program)
Shostakovich No. 1
Arensky Trio in d minor
Tchaikovsky Trio in a minor, op. 50
Schubert Trio in E flat major, op. 100
Shostakovich Trio No. 1 in c minor, op. 8
Mendelssohn Trio No. 2 in c minor, op. 66
Brahms Piano Trio No. 3 in c minor, op. 101
Brahms Piano Trio No. 2 in C major, op. 87
Brahms Piano Trio No. 1 in B major, op. 8
I have one word of feedback: WOW!!
To expand a little, this was about the most focused, sonorous. elegant and intense trio playing I’ve ever heard. And they made as much out of Schubert’s E-flat Trio as I ever hope to encounter — any more than that might do me in. The audience was unanimous in its extremely positive reaction.
Music at Deerfield
Trio Latitude performs for Gina Bachauer Foundation May 4, 2018.
Such an incredible performance tonight by Trio Latitude 41 as the closing concert for the season by Gina Bachauer International Piano Foundation:
The Tchaikovsky piano trio, which clocks in at 50 minutes, flew by quickly. Ages since I heard the work performed live but this rendition was so exquisitely balanced, a huge feat because the writing is like a full-blooded orchestra in that distinctive Tchaikovsky voice. The musicians mastered the tension and emotional stamina so effectively that there were many moments when I felt the goosebump chill.
The opening Brahms trio was equally good. Such gutsy, splendid playing.
“A high level of playing from an international trio. Judging by this superb disc, the trio is a happy meeting of European and American players. Schubert’s Trio is performed with a restrained use of vibrato from the outset, giving the first movement a transparent texture in this beautifully balanced recording. Juilliard School graduate Livia Sohn performs with great sensitivity and the second subject of this movement is especially clear. It is answered by well-matched cello playing in the second movement by Luigi Piovano…this is fine playing in the modern style. Pianist Bernadene Blaha demonstrates fluid musicianship throughout. The Notturno in E flat major reveals similar traits and is a charming if modest work…The sum total, however, is a highly enjoyable disc.” -The Strad Magazine
“..the group surmounts the considerable technical difficulties of both works with an almost insolent ease. They also have a superbly blended physical sound…But even more importantly, they play with such grace, understanding, and unanimity of purpose that their next outing should be as indispensible as this latest one.”
“Right from the opening figures, the trio shows off a sense of spontaneity to go with the virtuosity of pianist Bernadene Blaha, violinist Livia Sohn, and cellist Luigi Piovano. They bring all the necessary fire to the heated, emotionally charged, technically complex first movement, a brilliant yet accessible statement of independence. The second movement begins sweetly, but stormy passages streak through it too. Blaha’s crisp, speedy fingerwork motivates the “Allegretto”. The more melodic third and fourth movements give Sohn and Piovano ample opportunity to display their tone and easy sense of flow even in the most difficult passages. And the final movement the three seem to speak in one voice, creating an almost orchestral fullness. The mood of the Piano Trio No. 1 may be less “serious,” but it’s got plenty of active material on which the musicians can display nimbleness and expressivity. All told, Trio Latitude 41 digs into these relatively rarely performed pieces with gusto and makes a powerful case for them.”
“The booklet notes quote Schumann’s 1836 description of the trio as a work that “blazed forth like some enraged meteor,” with an opening movement “inspired by deep indignation as well as boundless longing.” The artists here — Canadian pianist Bernadene Blaha, violinist Livia Sohn and cellist Luigi Piovano — find all this and more in a memorable performance. A finely-nuanced and highly effective performance of the Notturno completes an excellent recital disc. Recorded at the Rolston Recital Hall in the Banff Centre, the balance and ambience are perfect.” -The Whole Note
“Pianist Bernadene Blaha, cellist Luigi Piovano and violinist Livia Sohn sparkled through a first half that featured Beethoven’s Trio No. 1 in D Major, Op. 70 (“The Ghost”) and Mendelssohn’s Trio No. 2 in C Minor, Op. 66. The trio worked forthrightly through the sometimes-brooding Beethoven selection and stepped it up with the more fiery and melodic Mendelssohn selection, drawing a standing ovation heading into the intermission.” -Newport Daily News
Saint-Saëns: Piano Trios
Released January 2015
Watch a clip on Youtube
|Piano Trio No. 2 in E Minor, Op. 92|
|Piano Trio No. 1 in F Major, Op. 18|
Schubert: Piano Trio op. 100 & “Notturno”
|Trio for violin, cello and piano in E-Flat Major, Op. 100 D. 929|
|Allegro||Listen to Sample|
|Andante con moto||Listen to Sample|
|Scherzando – Allegro moderato|
|Allegro moderato||Listen to Sample|
|Triosatz, Adagio for violin, cello and piano in E-Flat
Op. posth. 148 D 897 – “Notturno”