Morgenstern Trio - Smetana, Shostakovich, Bernstein (2011)
BAND/ARTIST: Morgenstern Trio
- Title: Smetana, Shostakovich, Bernstein
- Year Of Release: 2011
- Label: Azica Records
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 00:59:52
- Total Size: 238 mb
- WebSite: Album Preview
Tracklist
01. Piano Trio in G minor, Op. 15: I. Moderato assai
02. Piano Trio in G minor, Op. 15: II. Allegro, ma non agitato
03. Piano Trio in G minor, Op. 15: III. Finale: Presto
04. Piano Trio No. 1 in C minor, Op. 8
05. Piano Trio: I. Adagio non troppo - Allegro vivace
06. Piano Trio: II. Tempo di marcia
07. Piano Trio: III. Largo - Allegro vivo e molto ritmico
Formed in 2005 while students at the Folkwang Conservatory in Germany, the Morgenstern Piano Trio has enjoyed a rather meteoric rise in prominence, even capturing the 2010 Kalichstein-Laredo-Robinson International Trio Award. On this 2011 Azica album, the Morgensterns have veered away from standard repertoire and instead chosen a program that matches their own youthful, up-and-coming personality. The Trio in G minor of Bedrich Smetana, the C minor Trio of Dmitry Shostakovich, and the Trio of Leonard Bernstein represent early compositions of each composer, long before they achieved their own recognition and acclaim. Though the Smetana Trio can be found on concert programs here and there, the Shostakovich and Bernstein are scarcely heard; this is a true shame since in the right hands, all three of these works provide an important insight into the early development of their composers and are musically fulfilling in their own right. The Morgenstern Trio is just such a group. Its playing is vibrant and energetic while possessing a refinement and maturity far beyond its years. The tight ensemble, well-matched articulation and pacing, and polished intonation are more indicative of a group that has played together for decades, not half of one. What's even more pleasing is the variety of colors produced to match each score. The Smetana is deeply emotional, Shostakovich is visceral and edgy, and Bernstein is rich in textural variety. The Morgensterns have a lot to offer with this type of less-common but still worthwhile repertoire; we can all hope that they might continue on this path.
01. Piano Trio in G minor, Op. 15: I. Moderato assai
02. Piano Trio in G minor, Op. 15: II. Allegro, ma non agitato
03. Piano Trio in G minor, Op. 15: III. Finale: Presto
04. Piano Trio No. 1 in C minor, Op. 8
05. Piano Trio: I. Adagio non troppo - Allegro vivace
06. Piano Trio: II. Tempo di marcia
07. Piano Trio: III. Largo - Allegro vivo e molto ritmico
Formed in 2005 while students at the Folkwang Conservatory in Germany, the Morgenstern Piano Trio has enjoyed a rather meteoric rise in prominence, even capturing the 2010 Kalichstein-Laredo-Robinson International Trio Award. On this 2011 Azica album, the Morgensterns have veered away from standard repertoire and instead chosen a program that matches their own youthful, up-and-coming personality. The Trio in G minor of Bedrich Smetana, the C minor Trio of Dmitry Shostakovich, and the Trio of Leonard Bernstein represent early compositions of each composer, long before they achieved their own recognition and acclaim. Though the Smetana Trio can be found on concert programs here and there, the Shostakovich and Bernstein are scarcely heard; this is a true shame since in the right hands, all three of these works provide an important insight into the early development of their composers and are musically fulfilling in their own right. The Morgenstern Trio is just such a group. Its playing is vibrant and energetic while possessing a refinement and maturity far beyond its years. The tight ensemble, well-matched articulation and pacing, and polished intonation are more indicative of a group that has played together for decades, not half of one. What's even more pleasing is the variety of colors produced to match each score. The Smetana is deeply emotional, Shostakovich is visceral and edgy, and Bernstein is rich in textural variety. The Morgensterns have a lot to offer with this type of less-common but still worthwhile repertoire; we can all hope that they might continue on this path.
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