Aureole etc.

Golden Age singers

Nimbus on-line

Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Crystal Records

Austrian Images
Ivan ERÖD (b.1936)
Trio Op.59 (1991)a
Gottfied von EINEM (1918 Ė 1996)

Verdehr-Trio Op.97 (1992)a
Thomas Christian DAVID (b.1925)

Trio No.1 (1978)b
Trio No.2 (1989)b
Trio No.3 (1995)b
Verdehr Trio (Walter Verdehr, violin; Elsa Ludewig-Verdehr, clarinet; Silvia Roederer, pianoa; Gary Kirkpatrick, pianob)
Recorded: ORF Studio, Klagenfurt (David No.1); ORF Studio, Vienna (David No.2); Konzerthaus Studio, Vienna (David No.3) and WFMT Studios, Chicago (von Einem, Eröd), no dates given


Of the three Austrian composers represented here, Thomas Christian David (the son of the composer Johann Nepomuk David) has most consistently composed works for the Verdehr Trio. Besides the three trios recorded here, he has also written a Duo for violin and clarinet, a Triple Concerto (on Crystal CD 745), Carmen Suite and Sinfonia Concertante for trio and wind orchestra (both on Crystal CD 749). Davidís three trios are roughly conceived along the same lines, the fairly traditional fast-slow-fast pattern, although Trio No.3 "Aziz Djoune" reverses the order starting with a Vivace and ending with a moderately fast movement. Trio No.1 (1978) and Trio No.2 (1989) are similar in outlook, although the Second Trio is more tightly argued than its divertimento-like predecessor. The more recent Trio No.3 "Aziz Djoune" is partly based on a love song from Iran. The composer insists that the music here should be played with the most vivid tonal colours, sometimes echoing playing techniques associated with folk music.

Hungarian-born Ivan Eröd studied in Budapest with Pál Kadosa and Ferenc Szabó before emigrating to Austria where he continued his studies, among others, with Hans Jelinek and where he now resides. His music is clearly indebted to the Austrian tradition of the so-called Second Viennese School, though it is not strictly or dogmatically dodecaphonic or serial. Though in two movements, Erödís Trio Op.59 is a theme and variations of sorts. The second movement explores most of the contrasted material stated in the first movement in an attempt to bring its disparate elements into a more unified whole.

Gottfried von Einem is probably the most familiar name here, although his music may not be all that familiar. However it has been championed by some distinguished conductors such as Ferenc Fricsay who conducted the first performances of von Einemís first opera Dantonís Tod and who recorded some of his orchestral music during the LP era (some of these recordings have now been re-issued in CD format). His Verdehr-Trio Op.97 of 1992 is in four concise and contrasting movements in which "melodic lines and chords should be able to give composer and listener joy and stimulation clarity of spirit" (the composerís words). Uncomplicated, attractive music characterises this lovely, unpretentious and entertaining work.

This is Volume 14 of Crystalís pioneering series The Making of a Medium; no mean achievement which says much for the artistry and the musicality of the Verdehr Trio. They have tirelessly encouraged composers to compose music for them, with often very satisfying results. Again, unfamiliar, though worthwhile works in clean and affectionate readings. There is much to enjoy here.

Hubert Culot


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