Sitkovetsky

Working in an era before Arts Council grants, public sponsorship, recording royalties, and long-term publishing deals, Elgar had to write for the public demand as much as personal satisfaction. The effort required for his large-scale works was rarely reflected in profitable income, so writing songs could be a useful way to earn money. The England of Elgar’s time favoured popular ballads, sung by well-known singers.

With the three piano trios, Op. 1, Ludwig van Beethoven took a genre still largely associated with salon music and raised it up to rival the string quartet. The works are innovative in form as well as in content. From this collection, the Trio in G major, Op. 1 No. 2, appears as a cheerful and engaging work. While it has been said that one could discern ‘the master’s happy youth […] still unclouded, light and frivolous’, hints of ‘the deep seriousness and tender intimacy that would follow’ can also be found.

With the three piano trios Op.1 Ludwig van Beethoven took a genre still largely associated with entertaining salon music, and raised it up to rival the string quartet. The works are innovative in form as well as in content especially so in the case of the Trio No. 3 in C minor, Beethovens trademark key. It is therefore fitting that the Sitkovetsky Trio has chosen this work to open their cycle of the composers piano trios.

With the three piano trios published in 1795, Op. 1, Ludwig van Beethoven took a genre still largely associated with salon music and raised it up to rival the string quartet. In these works, Beethoven saw the true start of his creative journey.

With the three piano trios published in 1795, Op. 1, Ludwig van Beethoven took a genre still largely associated with salon music and raised it up to rival the string quartet. In these works, Beethoven saw the true start of his creative journey.

With the three piano trios Op.1 Ludwig van Beethoven took a genre still largely associated with entertaining salon music, and raised it up to rival the string quartet. The works are innovative in form as well as in content especially so in the case of the Trio No. 3 in C minor, Beethovens trademark key. It is therefore fitting that the Sitkovetsky Trio has chosen this work to open their cycle of the composers piano trios.

With the three piano trios, Op. 1, Ludwig van Beethoven took a genre still largely associated with salon music and raised it up to rival the string quartet. The works are innovative in form as well as in content. From this collection, the Trio in G major, Op. 1 No. 2, appears as a cheerful and engaging work. While it has been said that one could discern ‘the master’s happy youth […] still unclouded, light and frivolous’, hints of ‘the deep seriousness and tender intimacy that would follow’ can also be found.

In her album "Bach Unbuttoned", Ana de la Vega brings together a group of exciting young soloists and the Württemberg Kammerer Heilbronn to present a lively and fresh look at Bach as a person and composer.

Pop the champagne corks, for when this French programme is appearing only the year after a fine first volume of Beethoven Trios, it looks very much as though Sitkovetsky Trio are in a new rhythm of regular recordings, following Isang Enders replacing Leonard Elschenbroich as cellist in 2019.

The Britten Sinfonia s Associate Leader, Thomas Gould directs the ensemble in Dmitry Sitkovetsky s beautifully realised and heartfelt arrangement for strings of Bach s great keyboard work, 'The Goldberg Variations'. Sitkovetsky s arrangement (first conceived for string trio and later expanded for string orchestra), made in 1985 on the 300th anniversary of Bach s birth, is lovingly and painstakingly done. He dedicates the string trio arrangement to Glenn Gould, and it is clear from much of the written-out ornamentation that Gould s recordings of the Goldbergs were Sitkovetsky s passport into the music.