Trio Wildschut, Kruithof, Meeuwsen leave audiences lost for words

As the first ever Dutch winner of Belgium’s prestigious Queen Elisabeth competition 2025, Nikola Meeuwsen carries the weighty expectations of a nation on his shoulders. How will his career pan out? Will he be snapped up by one of the big agencies, or will he take things a little steadier and play for the long game, developing meaningful relationships not only with audiences around the world, but with fellow musicians? The life of a concert pianist is a notoriously lonely one.

The programme

After making his solo debut at Amsterdam’s Concertgebouw and a varied list of engagements notably in the Far East, the decision to team up with two friends, Dutch violinist Noa Wildschut and Luxembourg-born cellist Benjamin Kruithof, both acclaimed musicians in their own right, seems eminently sensible. Their tour around the Netherlands, starting in Delden’s picturesque Old Blasius Church, just a stone’s throw away from Twente’s glorious Twickel Castle, adds a personal touch: Meeuwsen’s paternal family originally hail from this very town. With his very proud grandparents adding their support from the pews, and with Delden’s jewel quite literally packed to the rafters, it all felt rather like home.

Perusing the programme, thoughts of Mendelssohn’s piano pieces Songs Without Words come to mind, for I learn later that their piano trio has no name, instead wishing to be known as Trio Wildschut, Kruithof, Meeuwsen. When will one appear? And is this the beginning of something rather special?

Haydn’s Piano Trio No. 39 in G major opened proceedings. Wildschut’s tone, always sweet, never forced, floated above while Kruithof’s sonorous cello made the most of Haydn’s delicious bass dissonances. Crucially, the piano did not overpower. Playing on a Yamaha grand, and as witnessed just last month at the Utrecht Chamber Music Festival with Janine Jansen and friends, Meeuwsen is the consummate chamber musician. His delicate touch, especially in florid right-hand passagework, fast becoming a Meeuwsen trademark. The piano’s quiet calm gave way to Wildschut’s searching, proving that she is more than an equal partner. Haydn’s conclusion offers some of his best known chamber music allowing the trio to channel their inner gypsy. Wildschut’s dancing feet, adding their very own Hungarian charm.

A little Tchaikovsky

The mood became much more intense in Tchaikovsky’s Trio in A minor Op. 50. Kruithof relishing his moments of lyricism but also propelling everything forward and giving welcome direction. This, however, was to be a performance full of surprises. A purity of mind and seemingly endless calm descended. God’s own angels, looking down from the stunning mural on high. No-one moved. The cello begged, the violin made her pleas, and the piano embraced. Meeuwsen’s deeply attractive inner stillness hinting at an emotional maturity beyond his years. With the strings now in perfect unison, Tchaikovsky refocused the frame.

The ensuing variations ranged from deep introspection to thoughts of Tchaikovsky’s ballet world full of cascading tutus. But it was the fast, furious, highly intricate and glorious finale which left its mark. The closing funeral march gave pause for thought, leaving the Delden audience completely lost for words. This is a true chamber music gem and one not to be missed.

Trio Wildschut, Kruithof, Meeuwsen is on tour across the Netherlands finishing with a recital at the Concertgebouw on February 8^th.