Beethoven - Triple Concerto, Archduke Trio, Storioni Trio - Vriend [DSD]seeders: 23
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Beethoven - Triple Concerto, Archduke Trio, Storioni Trio - Vriend [DSD] (Size: 2.82 GB)
Description  64fps Stereo TRIPLE CONCERTO & ARCHDUKE TRIO (2013) BEETHOVEN STORIONI TRIO, THE NETHERLANDS SYMPHONY ORCHESTRA JAN WILLEM DE VRIEND The piano trio was the ensemble type with which Beethoven opened his series of works published with opus numbers in Vienna in 1795. In his Triple Concerto, published as Opus 56, Beethoven confronts this genre with a large orchestra. Anton Schindler, since 1822 Beethoven’s self-named secretary and also his first, sadly all too often untrustworthy biographer, stated that the piano part of the trio instrumentation was specified for Archduke Rudolf; but the facts do not support this. The Archduke was only sixteen years young when the work was written around 1804, a year marked by the composition of the Third and Fifth Symphonies, Fidelio and the “Appassionata”, and when the Triple Concerto was put to print in 1807 the piece was dedicated not to a schoolboy from the Imperial House, but to another member of the high nobility and confidant of the composer, Prince Lobkowitz. http://www.hraudio.net/showmusic.php?title=8627#reviews Reviews BEETHOVEN Triple Concerto . Piano Trio in B?, op. 97, “Archduke” • Storioni Tr; Jan Willem de Vriend, cond; Netherlands SO • CHALLENGE 72579 (SACD: 71:15) It’s a good thing I fell in love with this CD before I read about it. I deliberately left the notes for later, like a self-sequestered judge. This has been my year for the Triple Concerto , and I have reviewed CDs of it from The Knights and the Read more Still, I burst out laughing, when I first read about the musicians. What a can of worms Roger Norrington and his movement have surely opened! Here we find a Barenreiter-influenced interpretation, but from an absolutely enormous orchestra. The instruments are modern, with steel strings, except for the brasses, which are early instruments. The Storioni Trio play on gut strings, but use considerable vibrato, and to confuse things further, feature the fortepiano. In other words, this should be some sort of ghastly artistic hodgepodge. Somehow it isn’t. The fortepiano, once you get used to its damped sonority, works well. Still, at times it sounds like a harp made of tin cans. And when the finale’s cadenza hits a powerful series of low-octave trills, you might be convinced there were three harpsichords gone mad in a coat closet. But the gut strings, I find, sound a touch sweeter than steel ones. It would have been nice to hear the whole orchestra strung with them. And both performances are actually lovely, once you get past the “what the hell is that!?” of hearing the fortepiano. The notes, once I read them, were informative and fortunately not pretentious. Nothing is more annoying in music than a theory in love with itself! FANFARE: Steven Kruger Dedicated to Only Classical :-) Sharing Widget |
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