Delta Piano Trio

The Delta Piano Trio was founded in Salzburg (Austria) by three young Dutch performers: violinist Gerard Spronk, cellist Irene Enzlin and pianist Vera Kooper. 

In a world of globalized uniformity the trio stands out by its personal sound, dedication and natural youthful vigor. Their playing is honest, un-affected and passionate, merging three personalities into one musical entity. They approach chamber music as a form of communication, an exchange of ideas, and a shared road of reflection, discovery and evolution. Aiming to shape it’s own path, the Delta Piano Trio has an eclectic and personal choice of repertoire, encompassing the entire range of the piano trio literature.

Since their founding in 2013, the Delta Piano Trio has performed extensively in The Netherlands, Germany, Austria, Italy, Lithuania, the United Kingdom, Russia and the United States. In the spring of 2014 the trio won the first prize, as well as a special prize for the performance of a twentieth-century work, at the 7th International S. Vainiunas Chamber Music Competition in Vilnius, Lithuania. Their debut at the 4th Salzburger Kammermusikfestival, in a shared concert with the Borodin Quartet, was highly acclaimed by both audience and critics. In September 2014 the trio won a first prize at the Salieri-Zinetti International Chamber Music Competition in Verona, Italy. In March 2015 the trio made their United States debut at the New York Chamber Music Festival and had the chance to work with composer Lera Auerbach on her first piano trio.

In the summer of 2015 the trio won the First Prize (Prix Charles Hennen) at the Orlando Competition in The Netherlands as well as the second prize in the international Gianni Bergamo Award Competition in Switzerland. The next seasons include engagements in Korea, Hong Kong, Argentina, Chile and Europe, as well as a cd recording for Naxos Records. 

The Delta Piano Trio has the privilege to work with Wolfgang Redik (founding member of the Vienna Piano Trio) and Rainer Schmidt (Hagen Quartet) at the Universität Mozarteum in Salzburg. Further musical influences include Stephen Kovacevich, Alexander Bonduriansky, Louise Hopkins, Miguel da Silva, Johannes Meissl and Hatto Beyerle (founding member of Alban Berg Quartet). Since 2015 the trio combines their studies in Salzburg with the Cycle Concertiste in Paris, a program for young ensembles especially established to help jumpstart their career, under the guidance of the Trio Wanderer.

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Short Profile

NameDelta Piano Trio Founded2013
Main languageDutch; Flemish Additional languages English,  French,  German 
✮✮✮✮✮ Delta Piano Trio: virtuosity and elegance at Conway Hall
2016-12-05 Webpage, London
"Regarded by fellow musicians as one of the most promising young ensembles, the Delta Piano Trio have made a name for themselves with their raw, uncompromising musicianship, their energy and a willingness to invest oneself beyond comfort...

...It was interesting to hear a less gushy and overblown interpretation of Rachmaninov's G minor trio than one normally encounters. Keeping composure is very important in this work, whose impact is dependent on retention and intensification effects. Yet the Delta Piano Trio managed to keep an iron grip on dynamics and tempo, without tangling up in rubatos. Gerard Spronk and Irene Enzlin were passionate, eluding wanton prettification. As for Vera Kooper, thoroughness and beauty of tone shone in equal measure throughout this 15 minute work. And this was just the opening number.

The Delta Piano Trio then gave a characterful, rhythmically buoyant account of Haydn's E minor Trio (HOB. XV:12). Though the instrument for which Haydn wrote his music differ in many respect from Conway Hall's lustrous Bösendorfer, Kooper managed to find the perfect key dip and lightness of touch, so that she did not overpower her partners. This went hand in hand with a playing style sharply contrasting with what we heard in Rachmaninov – none of the accursed chopping in which even distinguished pianist indulge; a neat and tinkling tone instead, along with insightful phrasing. Lowered dampers allowed her to achieve subtle effects without diminishing the clarity of the right hand, which was always perfectly steady. After a courteous Andante, the Rondo offered us an opportunity to admire both the Trio's technical skill and their flair for choosing a dramatised interpretation that avoided monotony.

(Julien Hanck)
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Im Russland der Gegensätze - Salzburger Kammermusik Festival
2014-06-20 Drehpunkt Kultur , Salzburg
"...Nebulös durchscheinend wie Milchglas und reich an präzisen Konturen wie eine Landschaft nach einem Gewitter schwirren Flageolettklänge durch den Saal. Rasant und beinahe fröhlich schreitet der zweite Satz, man erkennt den Schostakowitsch der Jazz-Suiten, der spielerischen Tänze wieder. Darauf folgen Largo, Allegretto und Adagio und somit die wunderbarste Viertelstunde dieses Abends...

...Mit jugendlicher Frische, mit vielen Ideen, frechem Witz und großem Tiefgang erfreuen sie das Publikum. Nicht enden wollender Applaus ist die Belohnung. Nicht nur, dass ihre große Bühnenpräsenz und ihr wunderbares Spiel eine Wonne sind, ihre Spielhaltung, die Blickkontakte, die sichtbare Kraftanstrengung, mit der beeindruckende Fortissimo-Passagen bewältigt werden – das alles macht den zweiten Teil des Konzerts zu einem absoluten Höhepunkt für alle Sinne. Man hätte gerne mehr gehört...


...harmonic sounds buzz through the hall, nebulous translucent like frosted glass and rich in precise contours like a landscape after a storm. The second movement proceeds fast-paced and almost cheerfully; you can see the Shostakovich Jazz Suites, playful dances again. This is followed by Largo, Allegretto and Adagio and thus the most wonderful quarter of an hour of this evening...

..with youthful vigor, many ideas, cheeky wit and deep thoughtfulness they delight their audience. Non-ending applause is the reward. Not only that, their great stage presence and wonderful playing are a delight, their playing position, the eye contact, the visible effort, the being overcome with the impressive fortissimo passages - all this makes the second part of the concert to an absolute highlight for all the senses. One would have liked to have heard more..
(Stefan Reitbauer)
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