Nikolay Rimsky-Korsakov’s influence as composer and teacher was profound in Russia and beyond, yet his chamber music has been overshadowed by his operas and orchestral works. The unfinished Piano Trio in C minor was completed by his son-in-law Maximilian Steinberg to reveal a substantial work of considerable depth. César Cui’s charming and lyrical Farniente is an arrangement from a piano original, while Borodin’s Piano Trio in D major is reminiscent of Mendelssohn in its joyous agility and nostalgic beauty. The Brahms Trio is one of the leading Russian chamber ensembles. Since its foundation in 1990, the trio has regularly appeared at prestigious international concert venues. Legendary musicians such as Tatiana Gaidamovich, Alexander Bonduriansky (Moscow Trio), Valentin Berlinsky (Borodin Quartet) and Rudolf Barshai have had a significant influence on the formation of the performing style and career of the trio. The Brahms Trio has made an invaluable contribution to enlarging the chamber repertoire by rediscovering unknown piano trios of Russian composers of the late 19th and early 20th century.

REVIEW:

The latest release in this excellent Naxos series of Russian Piano Trios features Rimsky-Korsakov’s rarely performed Piano Trio in C Minor, César Cui’s À Argenteau No. 2. Farniente (version for piano trio), and Alexander Borodin’s Piano Trio in D Major. Nikolay Rimsky-Korsakov’s chamber music has been overshadowed by his operas and orchestral works. The unfinished Piano Trio in C minor was completed by his son-in-law Maximilian Steinberg to reveal a substantial work of considerable depth. César Cui’s charming and lyrical Farniente is an arrangement from a piano original, while Borodin’s Piano Trio in D major is reminiscent of Mendelssohn in its joyous agility and nostalgic beauty. The outstanding, award-winning Brahms Trio, founded 1988, has performed and recorded much of Russian piano trio repertoire and has made a significant contribution to enlarging the chamber repertoire by rediscovering unknown music by Russian composers of the late-19th and early-20th century.

– New-Classics.co.uk

In Hungary at the beginning of the 20th century, Béla Bartók and Zoltán Kodály were collecting and making analytical studies of Hungarian folk music, creating a new interest in the native music of their homeland. This album, featuring rarely heard works from the succeeding generation of Hungarian composers, presents a distinctive portrait of the Hungarian music scene from the interwar years to the 1950s, by composers who faced discrimination or paid the ultimate price for their Jewish heritage. The Offenburg String Trio was created in 1981 in Offenburg, Germany, the home town of its three musicians. The current ensemble consisting of the Schilli brothers Frank (violin) and Rolf (viola) and Martin Merker (cello) has played concerts since 1987. The Trio has received awards in several international chamber music competitions in Germany, France, Italy, and The Netherlands. The ensemble has been invited many times to perform on radio and television, including productions by SWR, Swiss Radio DRS 2, RAI Roma, Radio Catalunya, and the Irish, Brazilian, Russian, and Vietnamese television networks. The members of the Offenburg String Trio have served as the artistic directors of the Offenburg Cloister Concerts since 1995 and in recent years have directed the Trio Chamber Music Weeks for amateur ensembles in Germany and Switzerland.

REVIEW:

This issue is not just music for its own sake, but an inspiring testament that, despite adversity, injustice and cruelty, man’s indomitable spirit of courage always triumphs in the end. Sensitive and engrossingly passionate performances, coupled with some excellent sonics, complete a disc that is certainly not for the squeamish, but deeply rewarding for those who are inclined to search for the meaning behind the notes.

– Classical Music Daily

Upon hearing a chamber piece by Joseph Michl in Munich in 1772 the English composer and music historian Charles Burney wrote, ‘I hardly ever heard a composition that discovered more genius and invention.’ Even though Michl achieved success writing for the operatic stage and his contemporary reputation rested on his sacred works, the Bassoon Quartets present the epitome of urbane sophistication – elegantly constructed and full of imaginative detail – and at times resembling miniature concertos.

Ben Hoadley is one of Australasia’s finest bassoonists, performing on modern and historical instruments. He is also an award-winning composer whose works are performed and recorded internationally. Hoadley has appeared frequently as guest principal with many of the professional orchestras in both Australia and New Zealand, and as a recital and concerto soloist and chamber musician. His special interest in music by New Zealand composers has led to many collaborations in the creation of new music for bassoon. The Hall String Trio (Lara, Amalia and Callum Hall) are siblings from Auckland, New Zealand who have performed together extensively since childhood, primarily as a string quartet with their brother Elroy. Continued performances together have included duos, trios and collaborations with non-family members.

REVIEWS:

Hoadley tosses it all off flawlessly without any sense of strain, and always mindful of the prime directive to produce a smooth, seamless, and beautiful tone.

…Hoadley is companioned by three sibling Halls—Laura and Amalia, violins, and Callum, cello—who know their place in these works and play with deference to the bassoon. I would very much like to hear them in works composed for string trio, for their modest contributions in these bassoon quartets hint at an ensemble of string players that would really shine on their own.

-- Fanfare

It was in 1842, his ‘year of chamber music’ that Robert Schumann took on the combination of violin, cello and piano for the first time. He seems to have decided against releasing the resulting Fantasiestücke as a fully-fledged piano trio, however, but later returned to the work, revising it for publication in 1850. The model here is not the large-scale, quasi-symphonic trios of Beethoven or Schubert – instead Haydn’s characteristic trio textures spring to mind, especially in the first two movements where the cello largely follows the piano’s left-hand bass line. By the time the Fantasiestücke was published, Schumann had already written two ‘proper’ piano trios, No. 1 in D minor and No. 2 in F major. According to the composer the second of these ‘makes a friendlier and more immediate impression’ but it is in fact the D minor trio that has long been the more popular: passionate, mainly extrovert and bursting with fine thematic material it is the easiest to grasp on one hearing. Both works are filled to capacity with imitative writing, sometimes conspicuously so but often subtly as if on a subconscious level – an aspect that the members of the Kungsbacka Piano Trio, with more than 20 years of playing together, are able to make the most of.

The Beethoven year is about to begin and the first contributions by various artists to the anniversary are already being published The focus will be on the evergreens that will attract the attention of the public As a versatile and extremely productive artist, Beethoven has also created a number of works that are virtually unknown today This extensive 9 album edition is dedicated exactly to these works and its tracklisting reads like a sparkling treasure chest Rarely heard arias in various languages, Contredanses, minuets, Ländlers the Piano Concerto No 0 music for a knight's ballet, fun loving and sometimes not entirely youth free canons Over 10 ½ hours full of works by Ludwig van Beethoven, which were written throughout his life and cast a new, unusual glance on his musical oeuvre and his perhaps sometimes not so serious character.

Beethoven and Hummel’s relationship was one of fractious beginnings, but ultimately true friendship. Between 1825 and 1835 Hummel arranged his contemporary’s Symphonies Nos. 1-7 and Septet, Op. 20 for his favored combination of pianoforte, flute, violin, and violoncello. Beethoven would surely not have objected- arrangements were, after all, a perfectly normal part of the 19th-century musical landscape. To audiences today his symphonies need little introduction but, thanks to the musical sensitivity and sheer brilliance of Hummel’s arrangements, it is possible to experience the thrill of hearing these extraordinary pieces afresh.

Chamber music played a substantial role in the renewal of Portuguese music that took place during the 20th century. Freitas Branco's kaleidoscopic Trio has an experimental feel, brimming with his typical rhythmic fluidity and sweeping melodic style, while Frederico de Freitas's Preludio, coral e fuga is both colorful and technically impressive. Braga Santos's infectious lyricism is evident in his Trio, and the origins of Delgado's Trio Camoniano as a sequence of songs connects the worlds of classical music and fado. Volume 1 of Trio Pangea's 'superbly played' (MusicWeb International) Portuguese Piano Trios can be heard on Naxos as well.

Rob Keeley considers chamber music to be the most direct and expressive medium for him as a composer. The spirits of Haydn and Chopin can be heard in the Second Piano Trio, and there is a wink towards Mozart in the wonderful blend and agility to be found in the Clarinet Quartet. All of these works are the result of musical friendships, the faith and commitment of the players an integral part of each performance, with the remarkable sonorities of Distil as its still center.

The Morgenstern Trio's second release for Azica Records highlights their passion for music with works by Frank Bridge, a new work composed for the trio by Pierre Jalbert, Ernest Bloch, and Ilham Baran. To name a piano trio after the popular nineteenth century German poet Christian Morgenstern was the inspiration of Catherine Klipfel, piano, Stefan Hempel, violin, and Emanuel Wehse, cellist, who met during their studies at the Folkwang Conservatory in Essen, Germany. After only two short years of working together, the Morgenstern Trio emerged on the German Music Scene by being awarded top prizes and awards, such as the prestigious US Kalichstein-Laredo-Robinson Trio Award in 2010. The Washington Post wrote: "the group displayed a unanimity, polished technique and musical imagination that I thought had vanished from the scene with the demise of the Beaux Arts Trio".

In this new Chaconne release, Trio Goya offers unique accounts of Beethoven’s early piano trios, revealing on period instruments and in the magical acoustic of the Britten-Pears Auditorium at Aldeburgh’s Snape Maltings the extraordinary range of colors and narratives that these pieces suggest. Beethoven’s Opus 1 features amongst Trio Goya’s central repertoire, played regularly in the UK’s most prestigious venues and beyond. After a recent Wigmore Hall concert, Early Music Today wrote that “Trio Goya sent us home spinning on the delights and laughter of early Beethoven. His piano trio opus 1 No. 1 frothed and bubbled down the finale's theme, the musicians swept along by their own hell-for-leather, immaculately kept tempo.” These pieces mark a kind of beginning in Beethoven’s career. They were indeed planned and executed, over a period of two years, with unprecedented care and skill; they mark the start of a new creative period for the young genius, which is distinct from the younger Bonn years and is fully deserving of the label ‘first maturity’ conferred by the musicologist Lewis Lockwood.

Trio di Trieste was founded in 1933 when the members, Dario De Rosa, Renato Zanettovich, and Libero Lana, were only twelve years old. Later, Libero Lana was replaced by Amadeo Baldovino. Lana is heard on the Mozart recording, and Baldovino is heard on the Dvorak. The group has performed uninterrupted concert performances all across the world for more than sixty years- that’s more than 3,000 concerts. The Trio are members of the Roman Academy of St. Cecilia, and were awarded the prize of the President of the Italian Republic by the Grand Officer of Merit. They have regularly been invited to all of the major international festivals. This release focuses on radio recordings that the trio made in 1956 and 1964. The first work is Antonin Dvorak’s Trio in F minor for violin, cello and piano op. 65, followed by Mozart’s Trio in E major for violin, cello and piano.

This new release is the eighth and final volume in this superlative cycle of the complete Haydn Piano Trios, performed by The Mendelssohn Piano Trio. Four works are featured, including Piano Trio in F Major, Hob. XV: 37, Piano Trio in E-flat Major Hob. XV: 29, Piano Trio in C Minor, Hob XV: 13, and Piano Trio in G Major, Hob XV: 32. The Mendelssohn Piano Trio was founded in 1997, and since their inception have performed more than 500 concerts in the United States, Europe, and Asia. They have also recorded an impressive fifteen albums, including the present cycle. The trio is pianist Ya-Ting Chang from Taiwan, violinist Peter Sirotin from Ukraine, and cellist Fiona Thompson from England. “…the fine young Mendelssohn Piano Trio presented a program so lush, substantial and richly flavored you wanted to eat it with a knife and fork.” (The Washington Post)

Engage, Exchange, Connect. That is what this young American piano trio is all about, on stage as well as on this album, it's very first. Experience the group at it's revelatory best in these idiomatic and fresh interpretations of early-twentieth-century American piano trios, by Foote, Korngold and Bernstein. As reported by WXQR radio, "Neave is actually a Gaelic name meaning 'bright' and 'radiant', both of which certainly apply to this trio's music making." Praised for their "heart-on-sleeve performances" (Classical New Jersey), the Neave Trio has been described as "A consummate ensemble" (Palm Beach Daily News), "A revelation" (San Diego Story), and "A brilliant trio..." (MusicWeb International), one that has "exceeded the gold standard and moved on to platinum" (Fanfare).

Alexander Alyabyev enrolled in the Russian army when he was 25. As a calvary officer he took part in campaigns against Napoleon that took him all the way to Paris; he was badly wounded in the arm and transferred to the National Guard, where he became one of its best officers. Alyabyev had made himself a name in music salons as a composer of romanzas and brief pieces for piano prior to the Napoleonic War. After his retirement he was able to devote himself entirely to music and chose to live in Moscow. He was also known to be addicted to gambling and card games. Toward 1825 he was involved in a card game brawl where someone was killed. He was placed in jail for three years and finally sentenced to exile. From 1825 until the end of his life, Alyabyev remained under constant police supervision and was forbidden to perform in public. Alyabyev’s early works show his admiration for Beethoven, and he also wrote a great deal of salon music. His style was generally conservative and is often compared to early Schubert, particularly in view of his important art song output. In fact, Alyabyev is often nicknamed “the Russian Schubert.”

AllMusic praised The Benvenue Fortepiano Trio’s “intensity, commitment, and unfettered navigation of Schumann’s scores.” This release is the third in the ensemble’s series dedicated to the works of Robert Schumann (1810-1856). This volume features Schumann’s most influential chamber work, the Piano Quintet in E flat Op. 44. The piece, which was premiered in 1843, is remembered for it’s “extroverted, exuberant” character. It is considered one of Schumann’s finest works. The ensemble performs here on period instruments, which enhances the recording by creating the intimate atmosphere for which this chamber music was written. Fanfare Magazine writes that the atmosphere creates “an enlightened view of the music.” The Benvenue Fortepiano Trio is pianist Eric Zivian, performing here on a Franz Rousch 1841 fortepiano, violinist Monica Hugget, performing on a 1770 Dutch, and cellist Tanya Tomkins, playing on an 1811 Joseph Panormo.

Non-professional lovers of music ranged, in their mastery of the instruments, from amateurs to concert performers. So the instrumental fantasias were “molded” to the patrons’ specific requirements, and nourished a constantly growing market. The history of Pietro Morlacchi (1828-68) and Antonio Torriani (1829-1911) coincides with the history of the success of instrumental music genre in Italy. That these of the many published fantasias of the time survived, testify to their musical worth.

Classical Music

This CD comprises works by 19th and 20th century composers whose roots are in jazz, tango and Spanish folklore. Paul Schoenfield's Cafe Music is one of his most popular pieces, often played in concert. The Gelius Trio's version of Astor Piazzolla's 'Four Seasons' is based on Argentinian cellist and composer Jose Bragato's arrangement. Works by Turina andeniz are also featured. The Gelius Trio are known for their beautiful, impassioned, deeply sensitive sound and diverse repertoire.

BEETHOVEN Piano Trio in Bb, op. 97, “Archduke.” SCHUBERT Piano Trio in Bb, op. 99 • Tr di Trieste • INSTITUTO DISCOGRAFICO ITALIANO 6678, mono (69:52)


These recordings are taken from radio air checks in Cologne on March 12, 1958 (Schubert) and September 23, 1959 (Beethoven). I do not believe these are the same performances by this long-lived, estimable ensemble that can be heard in Deutsche Grammophon’s five-disc compilation of the Trio di Trieste’s complete recordings, but I wouldn’t swear to it since I don’t own that set.


The Trio di Trieste was one of the 20th century’s longest-surviving piano trios, and one that has often been compared to the Serkin-Busch and Cortot-Thibaud-Casals Trios. The comparison is more apt, I think, to the latter than it is to the former, for these are readings of a fairly Romantic persuasion, with tempos, dynamics, and phrasing undergoing frequent adjustments to fit the mood of the moment. Within that interpretive paradigm, however, it has to be said that the playing of Renato Zanettovich, Lebero Lana, and Dario De Rosa is of a beguiling beauty that simply silences any criticism of the ensemble’s stylistic approach.


My only regret is that I never got to see and hear the Trio di Trieste perform live—though I suppose these air checks are the next closest thing to it—for whatever one might point to that the players don’t do right in terms of observing the absolute letter of the scores, one cannot cite a single thing they do wrong in terms of intuiting the music’s spirit and emotional core. These performances simply transcend any mundane considerations as they ascend into the realm of the sublime. For a glimpse of the starry firmament Beethoven reveals to us, listen to the hushed, almost trembling awe the players convey in the closing measures of the “Archduke” Trio’s great Andante . It will make you want to fall to your knees in wonderment. This is the performance of this movement I have sought my entire life, and finally I have found it. All else, as the sage said, is mere commentary.


In closing, let me just say that the sound of these recordings is so good it’s not even necessary to qualify it with an excuse about their source. If I were not writing this review for the regular composer section of the magazine, I could easily see submitting it as an entry to the Classical Hall of Fame. Is further recommendation needed?

FANFARE: Jerry Dubins

The four works on this first CD of Komarnitsky’s music are all that remains of his copious output of chamber music. Featuring the London Piano Trio, they “audibly believe in every note, and their dedicated performances are set within a bold sound frame […]” (Gramophone Classical Music Guide).

REVIEW:

I was bowled over by the music on this record and sincerely hope that there is more to be discovered of this composer’s works, perhaps lying in some archives somewhere which is often where such things end up. It is tantalising to have heard this music and not to be sure of being able to explore further examples of it. I wait with bated breath and great hopes that more from him will emerge.

The members of the London Piano Trio play all of this music with passion, commitment and great skill making me want to seek out music where they play as a trio. Robert Atchison’s notes are a useful commentary on the background to the pieces.

-- MusicWeb International

The three Danish composers Norgard, Sorensen and Abrahamsen have all created new, visionary forms of musical expression, while also managing to renew a deep Romantic yearning to contain the intangible and the mysterious. In this new recording, Trio con Brio Copenhagen displays a keen awareness of the dreamlike idiom of the three composers.

The music of Buxton Orr (b. Glasgow, 1924), was hardly over-exposed during his lifetime but has encountered even more neglect since his death in 1997. This CD takes a step in the right direction, presenting Orr’s mildly modernist, elegant and honest music in first recordings of four of his chamber works for strings.

REVIEW:

All of the performances are passionate, committed and of the highest quality as is the recording which does not get between the performers and the listeners. The music needs to be ‘Listened to’ and, more than once. It is not fashionable, it does not always come out to meet you half way but it is approachable and emotional and has its own strong rewards.

The reason why the disc has taken over a decade to emerge, and I do recall it being mentioned many years ago, is that the company which originally recorded it lost interest and abandoned the project. Well done Toccata for picking up these most valuable pieces

-- MusicWeb International

Brahms originally wrote the Piano Quintet, Op. 34, for string quintet before recasting the work as a two-piano sonata. However, the sheet music has not ever been recovered. So, finnish cellist Karttunen set about its reconstruction. The result has all the vigor and power of the music we know but now recast in a different sonority.

REVIEW:

Another triumph for a small independent label. Brilliant thought provoking re-evaluations of ‘standard’ works by Brahms. The double viola version of the clarinet quintet in Brahms’ own arrangement is especially rewarding featuring some of the most beautiful viola playing I have ever heard from Steven Dann. Life-enhancing stuff.

-- MusicWeb International

Trio Settecento, the “superlative Chicago-based early music ensemble” (Gramophone) completes its grand tour of the European Baroque with An English Fancy, its highly anticipated survey of English Baroque chamber works. It is the final leg of a musical journey that has delighted record collectors and critics alike. Early-instrument enthusiasts will be intrigued by the prominent role of the viola da gamba in this repertoire. Previous installments include An Italian Sojourn, A German Bouquet, and A French Soirée.
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Classical Music