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Pno Trios [Bm]/Pno Trios [E Fl Import

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Détails sur le produit

  • CD (25 novembre 2003)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B0000UJLI2
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Commentaires client les plus utiles sur (beta) HASH(0x9b101984) étoiles sur 5 2 commentaires
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x9b105678) étoiles sur 5 Superb Late Romantic Piano Trios by a Composer You Never Heard Of 31 mars 2007
Par J Scott Morrison - Publié sur
Richard Franck -- no kin to César Franck -- was the son of a prominent German composer/pianist, Eduard Franck. He was born in Cologne, 3 Jan 1858 and died in Heidelberg, 22 Jan 1938. He was a composer and pianist who studied with his father in Berlin and with Reinecke, Wenzel, Jadassohn and Richter in Leipzig. He taught in Basle (1880-83, 1887-1900), with a period also in Berlin and Magdeburg, and conducted choirs in Kassel (1900-9) and Heidelberg (1910-38). Known chiefly as a performer of Beethoven, he also wrote a number of pieces in late Romantic vein for piano. As far as I know these are the first recordings of his two remarkable piano trios. I understand there is also an Audite CD of his piano quartets and I plan to acquire them when I can because this music is quintessential late Romantic music with arching, long-limbed, beautiful themes and tight classical construction. I particularly liked the third movement of the First Trio, a flying tarantella that bids fair to make one get up and dance. And the slow movement of Trio Two is almost too beautiful for words; there is particularly lovely playing by cellist Blees there. The terrific fugato in the final movement of II reminds me of the one in the Schumann Piano Quintet except that it is more expertly done. One could say that these works are mostly Brahmsian except that there are traces here and there of Schumann, Strauss and even Bruckner.

As for the performances -- by three musicians I'd never heard of before: Thomas Blees (cello), Bernhardt Fograscher (piano) and Christoph Schickedanz (violin) -- they are ardent, beautifully managed and thoroughly convincing. Recorded sound is excellent.


Scott Morrison
HASH(0x9b06af6c) étoiles sur 5 3.5 stars - Average Late Romantic Piano Trios for the Adventurous Listener 5 décembre 2015
Par Hexameron - Publié sur
I'm on the fence with this recording and not so enthusiastic as fellow reviewer Scott Morrison. I don't think these piano trios are so meritorious to warrant a 5-star rating; they're decent, but not special. Richard Franck (1858-1938) continues in his father’s footsteps as a standard bearer of Mendelssohn. This pupil of Reinecke and Jadassohn is largely conservative for his time, most comfortable swimming in Schumannesque waters.

The Piano Trio in B minor (1893) is cited in the Swiss Musical Journal shortly after its premiere and given this appraisal: “a magnificent, significant composition, fresh in invention, firm and secure in its development, and mature in its expression.” It is the better specimen of these two trios because of its very compelling opening “Allegro,” steeped in tension and restless striving with appealing turns of harmony and dramatic rhetoric in the development section. In contrast, the “Andante sostenuto” is warm and docile with slowly cascading arpeggios and impassioned lines; I wish the melodic contours and harmonies were sharply drawn. After a benign but tuneful scherzo comes the energetic tarantella in the finale, boasting a strong rondo theme and interesting countermelodies.

The Piano Trio in E-flat major (1900) is a celebratory work, marked by a thick texture with symphonic gestures. The first movement is bright and voluminous, sounding like a concerto with orchestra reduced to chamber forces. Yet the thematic material is mundane and not fit for purpose. In the “Adagio,” the violin is given a tender and yearning vocal line, offset by a more urgent central section. Where Franck really impressed me is in the “Scherzo,” which has the most infectious toe-tapping Brahmsian scherzo theme I’ve heard in a long time. It is an absolute jewel: muscular and dramatic with rhythmic bite. The finale is in typical optimistic fashion, and Franck chooses sonata form, giving us a jovial first theme and passionate second; there are some stirring moments, but nothing outstanding.

Bottom line: These two piano trios possess some attractive surface elements and competent writing after Mendelssohn’s heart, but I can recommend them only to collectors and enthusiasts eager to explore the fringes of the chamber repertory. There are so many more important second-tier piano trios worth hearing before these: Franck (the big one), Sabaneyev, Lekeu, Graener, Röntgen, Herzogenberg, and Raff.
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