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 |  |  | | | | Track Listings | | | Trio No. 2 for violin, violoncello, and piano (McKinley -1991) | | | 1 Moderato e tenebroso | 5:48 | | 2 Presto | 3:59 | | 3 Tango e finale | 7:54 | | Trio for violin, violoncello, and piano (Melloni -1994) | | | 4 Allegro agitato | 3:54 | | 5 Semplice e solenne | 7:14 | | 6 Adagio–Più mosso | 5:48 | | Trio for violin, violoncello, and piano (Bullen -1993) | | | 7 Andante | 3:37 | | 8 Vivace | 3:28 | | 9 Andante | 3:48 | | Second Trio for violin, violoncello, and piano, Op. 67 (Shostakovich -1944) | | | 10 Andante | 7:55 | | 11 Allegro non troppo | 3:11 | | 12 Largo | 6:20 | | 13 Allegretto | 10:55 | | Total time: | 74:44 |
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| | | | | | Solati Trio | | | Our Price: $9.95  | | | | Item Number: MMC2058 | | Audio Format: DDD | | Genre: Chamber | | | | Description | | Excerpts from the Liner Notes (by Robert Adelson)
Four Twentieth-Century Piano Trios
The piano trio has its roots in the accompanied sonata for keyboard and violin of the early eighteenth century, in which the string instruments held subsidiary roles to the piano. Even by the time of Haydn’s late trios, when the violin had assumed an independent voice, the cello continued to be relegated to doubling the bass line of the keyboard part. Only in Beethoven’s opp. 70 and 97 and Schubert’s opp. 99-100 did the cello achieve an obbligato status equal to the violin. In the nineteenth century, the piano trio became a favorite genre for salon performances by amateurs (Beethoven himself arranged his Second Symphony for piano trio). Perhaps as a reaction to the amateur status of the genre, composers such as Schumann, Brahms, Smetana, Dvorák, and Franck composed increasingly serious and weighty works, finally achieving for the piano trio equal status to the string quartet. After the highly virtuosic trios of Tchaikovsky and Arensky, composers turned away from the piano trio, although Fauré, Ravel and Ives all composed major works in this genre. The four works on this recording represent recent contributions to the piano trio repertoire, and attest to the commitment on the part of today’s composers to write increasingly intricate and substantial music for the medium. |
| | | | | | | Reviews | | "Dark colors and mystery dominate McKinley’s Piano Trio No.2. The opening movement features urgent string writing that sets a tone of nervous expectation, putting the listener on edge. The second movement, Presto, is a scherzo with touches of the grotesque; shades of Shostakovich come to mind. The best is saved for last, as a languorous Tango closes the work."
"Melloni’s Piano Trio is a lyrical work with hints of Impressionist color. The opening Allegro is passionate and songlike.... The closing Adagio is warm and genial in sprit."
"His [Bullen] Piano Trio has an improvisatory feel that belies its carefully designed structure. The work is rhapsodic in tone and makes some challenging demands of the trio."
-Fanfare: Craig Zeichner |
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