Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Pianist Richard Cionco – praised by Donal Henahan of the New York Times for his “sensitive pianism” – made his orchestral debut at the age of nine, and has since performed with the Phoenix Symphony Orchestra and the Seijo Symphony of Tokyo. He is currently a faculty member at California State University at Sacramento and is a Steinway artist.

The complete Beethoven cello and piano music, including the variations and arrangements, in addition to the five sonatas. As the Fischer Duo, Ms. Kierman and Mr. Fischer have concertized around the U.S. for almost forty years. Jeanne Kierman Fischer specializes in contemporary American piano music and has presented solo recitals throughout North America. Norman Fischer is the former cellist of the Concord String Quartet.

Classical Music

Classical Music

As is well known, Liszt wrote transcriptions of all nine Beethoven Symphonies. Here Frederic Chiu gives brilliant performances of Nos. 5 and 7. With a vibrant concert schedule, a legacy of 27 albums, and a stream of accolades from around the globe, pianist Frederic Chiu occupies a special place in the world of classical music. His non-traditional approach including interdisciplinary collaborations, integration of new technologies and emphasis on audience engagement distinguish Mr. Chiu as a maverick and innovator, a 21st Century artist.

Classical Music

The young Van Baerle Trio, made of stunning soloists – Hannes Minnaar on piano, Maria Milstein on violin and Gideon den Herder on cello – have accomplished the Beethoven’s Piano Trio recordings. Now, Challenge Classics releases a box including the five volumes of their remarkable survey. It includes the three youthful Trios op. 1, the two great Trios op. 70, the absolute masterpiece which is the Trio op. 97, named ‘Archduke’. Together with such ‘official’ and original works, there are also Beethoven’s own transcriptions of his own works: the Clarinet Trio op. 11, the Trio arrangements of the Septet op. 20 and of the Symphony no. 2. You will also find some light, occasional pieces like the Allegrettos in E-flat and in B-flat, the Variations op. 44 and op. 121a. The most unexpected work included in the box is the Triple Concerto, as the musicians consider it as a real piece of ‘augmented’ chamber music. Fanfare: “I believe this is one of the great piano trio performances in the history of recording. This is a recording that should be in everyone's collection.” Gramophone: “The effect is liberating and, in these joyous, playful performances, utterly refreshing. The effect is of real chamber music – up close and very personal.”MusicWeb International: “To my ears the Van Baerle Trio is amongst the top rank in terms of performance and recorded quality.” Luister: “The second volume is also exceptionally good. With great mastery, the Van Baerle Trio balances perfectly on the border between symphonic grandeur and chamber music transparency.”

Classical Music

Classical Music

In 1799, after having made a name for himself with major compositions, but before finishing his first symphony, Beethoven wrote a work for mixed strings and winds. This piece, the Septet op. 20, would become one of his most popular compositions, with a large number of arrangements, including the one for piano trio on this album. The form is clearly related to the divertimenti by Mozart, with six movements that alternate fast and slow tempos. The appearance of the Triple Concerto on the final disc in this series might surprise some listeners, as it is the only work with orchestra, but this composition has more in common with chamber music than with concertos. It was written in 1805, and it's instrumentation is highly exceptional if not unprecedented altogether. In tone, it is rather a stark contrast from Beethoven's other concertos, which generally contain easily recognizable melodies and strikingly rhythmic material, neither of which are found to a great degree here. Furthermore, the opposition of soloist and orchestra, a central aspect of many solo works with orchestra written up until that point that was the engine behind much of the drama, is also absent, with the orchestra taking a largely subservient role to the three soloists. So, although the work was called a 'Grand Concerto Concertant' when it was published, it really has very little in common with other works with a similar title. The question is whether this piece is a concerto at all, or whether it could be more fruitfully played and judged as a different kind of experimental piece in a more collaborative genre. This disc takes the latter approach, and by contextualizing it in a series of piano trios, it presents this work as Beethoven's most richly instrumented chamber music.