Hagaï Shaham, Arnon Erez, Raphael Wallfisch, Daniel Raiskin, Staatsorchester Rheinische Philharmonie - Brahms: Works for Strings (2016)
BAND/ARTIST: Hagaï Shaham, Arnon Erez, Raphael Wallfisch, Daniel Raiskin, Staatsorchester Rheinische Philharmonie
- Title: Brahms: Works for Strings
- Year Of Release: 2016
- Label: Nimbus Records
- Genre: Classical
- Quality: flac lossless (tracks) +Booklet
- Total Time: 02:00:52
- Total Size: 497 mb
- WebSite: Album Preview
Tracklist
01. Piano Trio No. 1 in B Major, Op. 8: I. Allegro con brio
02. Piano Trio No. 1 in B Major, Op. 8: II. Scherzo. Allegro molto
03. Piano Trio No. 1 in B Major, Op. 8: III. Adagio
04. Piano Trio No. 1 in B Major, Op. 8: IV. Allegro
05. Piano Trio No. 2 in C Major, Op. 87: I. Allegro
06. Piano Trio No. 2 in C Major, Op. 87: II. Andante con moto
07. Piano Trio No. 2 in C Major, Op. 87: III. Scherzo. Presto - Poco memo presto
08. Piano Trio No. 2 in C Major, Op. 87: IV. Finale. Allegro giocoso
09. Piano Trio No. 3 in C Minor, Op. 101: I. Allegro energico
10. Piano Trio No. 3 in C Minor, Op. 101: II. Presto non assai
11. Piano Trio No. 3 in C Minor, Op. 101: III. Andante grazioso
12. Piano Trio No. 3 in C Minor, Op. 101: IV. Allegro molto
13. Concerto Violin and Cello in A Minor, Op. 102: I. Allegro
14. Concerto Violin and Cello in A Minor, Op. 102: II. Andante
15. Concerto Violin and Cello in A Minor, Op. 102: III. Vivace non troppo
The string quartet is a formation that usually demands exclusivity from its members—the part-time Arcanto Quartet being one exception that proves the rule. Piano trios, though, have often been formed by a threesome of like-minded soloists: the fabled ‘Million Dollar Trio’ of Heifetz, Rubinstein and Piatigorsky springs to mind, as do several hyphenated groups such as the Cortot-Thibaud-Casals, Istomin-Stern-Rose or (still going strong after almost four decades) Kalichstein-Laredo-Robinson trios.
The present ensemble, founded in 2009, belongs decidedly to this illustrious line. The players’ traversal of Brahms’s oeuvre for piano trio shows them as a perfectly attuned group; both string players are mercurially alive in their phrasing and dose their usage of vibrato in a consistently unanimous manner. A column could be filled enumerating the felicities of characterisation with which these readings are replete: Brahms’s ubiquitous hemiola rhythms lilt and bounce, his ‘hunting’ scherzos gallop merrily along and soaring legato phrases sweep over the fingerboard, carried by Shaham and Wallfisch’s seductive, almost tangible sound.
The three trios were recorded in Nimbus’s hall at Wyastone Leys, a most vivid acoustic that brings the three players straight into one’s living room. Balance with the piano is absolutely realistic: if the cello is almost drowned in one or two passages, that’s Brahms’s fault! Throughout, Erez is considerate of his partners and beautifully dovetails his thematic exchanges with them. Time stands still in the chorale-like alternations between piano and strings in the Adagio of op.8.
The ‘Double’ Concerto fills out the second CD, an inspired juxtaposition that highlights some compositional similarities with the near-contemporaneous C minor Trio. It comes across as almost chamber-like, thanks to the sophisticated nuances Daniel Raiskin draws from his Koblenz-based orchestra, sticking faithfully to the soloists’ perfectly judged rubato.
01. Piano Trio No. 1 in B Major, Op. 8: I. Allegro con brio
02. Piano Trio No. 1 in B Major, Op. 8: II. Scherzo. Allegro molto
03. Piano Trio No. 1 in B Major, Op. 8: III. Adagio
04. Piano Trio No. 1 in B Major, Op. 8: IV. Allegro
05. Piano Trio No. 2 in C Major, Op. 87: I. Allegro
06. Piano Trio No. 2 in C Major, Op. 87: II. Andante con moto
07. Piano Trio No. 2 in C Major, Op. 87: III. Scherzo. Presto - Poco memo presto
08. Piano Trio No. 2 in C Major, Op. 87: IV. Finale. Allegro giocoso
09. Piano Trio No. 3 in C Minor, Op. 101: I. Allegro energico
10. Piano Trio No. 3 in C Minor, Op. 101: II. Presto non assai
11. Piano Trio No. 3 in C Minor, Op. 101: III. Andante grazioso
12. Piano Trio No. 3 in C Minor, Op. 101: IV. Allegro molto
13. Concerto Violin and Cello in A Minor, Op. 102: I. Allegro
14. Concerto Violin and Cello in A Minor, Op. 102: II. Andante
15. Concerto Violin and Cello in A Minor, Op. 102: III. Vivace non troppo
The string quartet is a formation that usually demands exclusivity from its members—the part-time Arcanto Quartet being one exception that proves the rule. Piano trios, though, have often been formed by a threesome of like-minded soloists: the fabled ‘Million Dollar Trio’ of Heifetz, Rubinstein and Piatigorsky springs to mind, as do several hyphenated groups such as the Cortot-Thibaud-Casals, Istomin-Stern-Rose or (still going strong after almost four decades) Kalichstein-Laredo-Robinson trios.
The present ensemble, founded in 2009, belongs decidedly to this illustrious line. The players’ traversal of Brahms’s oeuvre for piano trio shows them as a perfectly attuned group; both string players are mercurially alive in their phrasing and dose their usage of vibrato in a consistently unanimous manner. A column could be filled enumerating the felicities of characterisation with which these readings are replete: Brahms’s ubiquitous hemiola rhythms lilt and bounce, his ‘hunting’ scherzos gallop merrily along and soaring legato phrases sweep over the fingerboard, carried by Shaham and Wallfisch’s seductive, almost tangible sound.
The three trios were recorded in Nimbus’s hall at Wyastone Leys, a most vivid acoustic that brings the three players straight into one’s living room. Balance with the piano is absolutely realistic: if the cello is almost drowned in one or two passages, that’s Brahms’s fault! Throughout, Erez is considerate of his partners and beautifully dovetails his thematic exchanges with them. Time stands still in the chorale-like alternations between piano and strings in the Adagio of op.8.
The ‘Double’ Concerto fills out the second CD, an inspired juxtaposition that highlights some compositional similarities with the near-contemporaneous C minor Trio. It comes across as almost chamber-like, thanks to the sophisticated nuances Daniel Raiskin draws from his Koblenz-based orchestra, sticking faithfully to the soloists’ perfectly judged rubato.
Year 2016 | Classical | FLAC / APE
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