Beaux Arts From Juillet 2016 Pdf

The Trios all date from 1797, when Haydn had ascended from the position of a gifted and appreciated court composer to achieve fame. Concurrent with his increased fame, he began writing extensively for the piano trio, a combination that was the focus of his attention in his last years of activity. The Trios on this disc are the results of Haydn's late life and show all of his accomplishments and inspiration.

These four piano trios were composed by Franz Joseph Haydn and published between 1795 and 1797, after Haydn had been released from his obligations as Kapellmeister to the Esterházy household. They are superbly performed by the Beaux Arts Trio, an ensemble renowned for its warm and lyrical interpretations of eighteenth century chamber music. Especially noteworthy is the "Gypsy" Trio (Hob. XV No. 26) with its third movement that blends classical sophistication with folk dance tunes. A thoroughly enjoyable listening experience.

Thoughtful, sensitive playing in slow movements, lively tempi in allegros, characteristic musicianship plus spontaneity combine to make these recordings highly recommendable throughout…

Since the Beaux Arts Trio last recorded Beethoven's Triple Concerto in 1977 two of its personnel have changed, with Ida Kavafian and Peter Wiley taking over from Isidore Cohen and Bernard Greenhouse. That leaves Menahem Pressler, now in his seventies, as the ever-lively survivor. Not only does Pressler's playing sparkle even more brightly in the concerto than before, he is an inspired protagonist in the Choral Fantasia, setting the pattern of joyfulness in this performance from his opening improvisation-like solo onwards. The other prime mover is Kurt Masur, who has rarely conducted more electrifying Beethoven performances on disc.

Long recognized as the leading piano trio in a competitive field, the Beaux Arts Trio is known for precise, straightforward performances and recordings of everything in the standard Central European trio literature.

Tempered by Rimsky-Korsakov’s orientalism and Tchaikovsky’s eclectic refinement, Anton Arensky’s pristine, elevated style is nowhere more arresting than in his two splendid piano trios. These richly sonorous, predominantly elegiac compositions are magnificently played by the Beaux Arts Trio. Recorded sound is of demonstration quality, and these sensational accounts deserve the strongest conceivable recommendation.

As a glance at the above will show, this is not the old Beaux Arts version, for whose restoration I made a plea two years ago, but a new digital account recorded with their new cellist, Peter Wiley and in a different acoustic The Maltings, Snape. In their old version they omitted the fugue (Var. 8), a practice sanctioned by the score (the Borodin on Chandos curiously enough, cut out the variation preceding it) but this time round the players restore it. However, they do make the traditional cut in the finale (bar 9 of page 86 to bar 4 of page 102 Eulenburg score).

Mozart wrote a plethera of fine chamber music in the galante style of the classical era: Quintets for various instruments, string quartets, string trios, string duos, piano trios, violin sonatas and the two magnificent piano quartets here. With these two quartets, Mozart more-or-less invented the genre which was later taken up by Schumann, Brahms and Dvorak. These piano quartets show Mozart in both a dramatic mode in the minor work and a typical merry mood in the major piece.