Joseph HAYDN (1732-1809)
Piano Trio No. 43 in C major, Hob. XV27 (1796)[20:10]
Piano Trio No. 44 in E flat major, Hob. XV28 (1796)[16:50]
Piano Trio No. 45 in E flat major, Hob. XV29 (1796)[16:27]
Piano Trio No. 26 in C minor, Hob. XV13 (1789)[15:28]
8: Eckhard Fischer (violin); Mario de Secondi (cello); Michael
rec. September 2005, South West German Radio HÄNSSLER
PROFIL PH06016 [69:17]
composed piano trios at every stage of his creative life,
beginning during his years with Count Morzin in the 1750s,
when both the piano and the composer were in their first
stages of development. Three of these trios come right at
the end of his catalogue, from 1796 after his two trips to
London and his final symphonies. The C minor Trio is from
several years earlier.
the dates, this is all the work of a highly experienced composer;
yet when these pieces was published they were described not
as trios, but rather as 'Sonatas for the pianoforte with
an accompaniment for the violin and the violoncello'. In
truth the music provides much more of a partnership of equals
than this quaint description suggests. With the exception
of the C minor Trio from 1789, there are three movements
which follow the sequence of the baroque concerto da camera,
with a more lyrical slow movement flanked by lively rhythmic
Trio Opus 8 give stylish performances that are clearly recorded.
Intonation is put under the spotlight and it is not found
wanting. However despite the skilful string playing and Haydn’s
well balanced textures, it is the pianist who has the central
role. In every piece the tactic is for the right hand to
tend to share the material with the violin, with the left
hand sharing with the cello. The recording makes all this
abundantly easy for the listener to perceive, even if in
the slower and more introspective moments there is a certain
lack of atmosphere, a matter-of-fact approach perhaps.
an excellent example of the strengths of these performances,
try the finale of the C major Trio. The lightning fast pace
of the genuine tempo Presto demands the utmost virtuosity
of the performers, and the music is well articulated here.
The élan of the playing may not dispel memories of the great
Beaux Arts Trio - at bargain price on Philips
422 831 2 - for
whom this repertoire has always held a special appeal, but
both the Opus 8 performance and the Hänssler recording remain
thoroughly enjoyable and highly successful on their own terms.
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