🎉 Up to 70% Off Selected ItemsShop Sale
Haydn: Piano Trios / Vienna Piano Trio
Members of the Mosaiques together with Patrick Cohen reawakened us to the delight of yet another evolving genre in which Haydn, once again, had ‘to become original’, in their piano trio recordings on Harmonia Mundi (11/91, 9/93, 9/95 and 5/96); now the Vienna Piano Trio, following hard on the heels of their own excellent Dvorak and Beethoven Trios (9/97), fill in some of the gaps, in close, sometimes breathy, but always thrillingly true new recordings of four of the Haydn trios.
The Gipsy Trio may have been written in and for London, but this ensemble’s short, snappy bowing, stomping piano accents and, above all, uniquely instinctive fluctuations of tempo and pulse in the finale, locate the work unmistakably in the grape-treading, Romany heart of the Burgenland. The steps of the dance shape and pervade the ETrio, too, in the jauntily sprung rhythms of the opening Allegretto, and the splendidly boisterous and cross-accented Allemande of its finale.
Among countless other delights in these bold and addictive performances is the sensitivity to the power of silence, and the short, hushed half-tones within the long-breathed lines of the Andante of the A major Trio. And, not least, the perceptive understanding and judgement of the shifting qualities of an Allegro which so well supports the structure of the outer movements of the D major, as well as enabling many a clearly articulated yet fanciful variation in the Gipsy Trio.
-- Hilary Finch, Gramophone [12/1997]
The Gipsy Trio may have been written in and for London, but this ensemble’s short, snappy bowing, stomping piano accents and, above all, uniquely instinctive fluctuations of tempo and pulse in the finale, locate the work unmistakably in the grape-treading, Romany heart of the Burgenland. The steps of the dance shape and pervade the ETrio, too, in the jauntily sprung rhythms of the opening Allegretto, and the splendidly boisterous and cross-accented Allemande of its finale.
Among countless other delights in these bold and addictive performances is the sensitivity to the power of silence, and the short, hushed half-tones within the long-breathed lines of the Andante of the A major Trio. And, not least, the perceptive understanding and judgement of the shifting qualities of an Allegro which so well supports the structure of the outer movements of the D major, as well as enabling many a clearly articulated yet fanciful variation in the Gipsy Trio.
-- Hilary Finch, Gramophone [12/1997]
Members of the Mosaiques together with Patrick Cohen reawakened us to the delight of yet another evolving genre in which Haydn, once again, had ‘to become original’, in their piano trio recordings on Harmonia Mundi (11/91, 9/93, 9/95 and 5/96); now the Vienna Piano Trio, following hard on the heels of their own excellent Dvorak and Beethoven Trios (9/97), fill in some of the gaps, in close, sometimes breathy, but always thrillingly true new recordings of four of the Haydn trios.
The Gipsy Trio may have been written in and for London, but this ensemble’s short, snappy bowing, stomping piano accents and, above all, uniquely instinctive fluctuations of tempo and pulse in the finale, locate the work unmistakably in the grape-treading, Romany heart of the Burgenland. The steps of the dance shape and pervade the ETrio, too, in the jauntily sprung rhythms of the opening Allegretto, and the splendidly boisterous and cross-accented Allemande of its finale.
Among countless other delights in these bold and addictive performances is the sensitivity to the power of silence, and the short, hushed half-tones within the long-breathed lines of the Andante of the A major Trio. And, not least, the perceptive understanding and judgement of the shifting qualities of an Allegro which so well supports the structure of the outer movements of the D major, as well as enabling many a clearly articulated yet fanciful variation in the Gipsy Trio.
-- Hilary Finch, Gramophone [12/1997]
The Gipsy Trio may have been written in and for London, but this ensemble’s short, snappy bowing, stomping piano accents and, above all, uniquely instinctive fluctuations of tempo and pulse in the finale, locate the work unmistakably in the grape-treading, Romany heart of the Burgenland. The steps of the dance shape and pervade the ETrio, too, in the jauntily sprung rhythms of the opening Allegretto, and the splendidly boisterous and cross-accented Allemande of its finale.
Among countless other delights in these bold and addictive performances is the sensitivity to the power of silence, and the short, hushed half-tones within the long-breathed lines of the Andante of the A major Trio. And, not least, the perceptive understanding and judgement of the shifting qualities of an Allegro which so well supports the structure of the outer movements of the D major, as well as enabling many a clearly articulated yet fanciful variation in the Gipsy Trio.
-- Hilary Finch, Gramophone [12/1997]
$7.35
Original: $20.99
-65%Haydn: Piano Trios / Vienna Piano Trio—
$20.99
$7.35Description
Members of the Mosaiques together with Patrick Cohen reawakened us to the delight of yet another evolving genre in which Haydn, once again, had ‘to become original’, in their piano trio recordings on Harmonia Mundi (11/91, 9/93, 9/95 and 5/96); now the Vienna Piano Trio, following hard on the heels of their own excellent Dvorak and Beethoven Trios (9/97), fill in some of the gaps, in close, sometimes breathy, but always thrillingly true new recordings of four of the Haydn trios.
The Gipsy Trio may have been written in and for London, but this ensemble’s short, snappy bowing, stomping piano accents and, above all, uniquely instinctive fluctuations of tempo and pulse in the finale, locate the work unmistakably in the grape-treading, Romany heart of the Burgenland. The steps of the dance shape and pervade the ETrio, too, in the jauntily sprung rhythms of the opening Allegretto, and the splendidly boisterous and cross-accented Allemande of its finale.
Among countless other delights in these bold and addictive performances is the sensitivity to the power of silence, and the short, hushed half-tones within the long-breathed lines of the Andante of the A major Trio. And, not least, the perceptive understanding and judgement of the shifting qualities of an Allegro which so well supports the structure of the outer movements of the D major, as well as enabling many a clearly articulated yet fanciful variation in the Gipsy Trio.
-- Hilary Finch, Gramophone [12/1997]
The Gipsy Trio may have been written in and for London, but this ensemble’s short, snappy bowing, stomping piano accents and, above all, uniquely instinctive fluctuations of tempo and pulse in the finale, locate the work unmistakably in the grape-treading, Romany heart of the Burgenland. The steps of the dance shape and pervade the ETrio, too, in the jauntily sprung rhythms of the opening Allegretto, and the splendidly boisterous and cross-accented Allemande of its finale.
Among countless other delights in these bold and addictive performances is the sensitivity to the power of silence, and the short, hushed half-tones within the long-breathed lines of the Andante of the A major Trio. And, not least, the perceptive understanding and judgement of the shifting qualities of an Allegro which so well supports the structure of the outer movements of the D major, as well as enabling many a clearly articulated yet fanciful variation in the Gipsy Trio.
-- Hilary Finch, Gramophone [12/1997]
