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Magnard: Piano Trio Op. 18; Violin Sonata Op. 13 / Triendl, Hornung, Laurenceau
Since recordings of AlbĆ©ric Magnardās hefty 1904 Op. 18 piano trio are few and far between, any new contender is bound to get attention. On balance, violinist GeneviĆØve Laurenceau, cellist Maximilian Hornung, and pianist Oliver Triendl give us the most consistently satisfying version from both sonic and interpretive perspectives.
The sprawling first movementās potentially murky low-lying passages emerge with uncommon textural clarity, while the pages and pages encompassing obsessive dotted rhythms of the Schubert and Schumann finale ilk unfold in long paragraphs that never bog down. The musicians sensitively address the Chantant movementās delicacy and subtle harmonic sleights-of-hand and balance the huge climaxes so that the soaring string melodies and sweeping piano arpeggios interact rather than compete.
If the Valse isnāt ideally lightfooted, I still appreciate the pointed contrapuntal repartĆ©e and timbrally differentiated pizzicatos. By contrast, the finale is both forceful and transparent, characterized by the performersā intelligently contoured counterpoint. They also avoid the easy temptation to inflate the chorale-like final pages with false grandiosity.
Laurenceau and Triendl more than hold their own among the Violin Sonataās (relatively) more extensive catalog choices. They effortlessly and insightfully navigate the musicās formidable technical demands and acres of textural thickness. Listen, for example, to the inner voices and bass lines coaxed out of the long slow movementās cascades of descending piano arpeggios, and notice the scrutiny with which Laurenceau and Triendl handle the compact and complex Scherzoās imitative passages. Colorful shaping also helps to intensify the finaleās fugal writing. After such a workout, youād expect a big ending payoff. But no, Magnard again goes for the quiet close. In other words, no immediate standing ovation! However, I heartily applaud these excellent performances of underrated works that both deserve and reward any serious music loverās attention.
-- ClassicsToday.com
The sprawling first movementās potentially murky low-lying passages emerge with uncommon textural clarity, while the pages and pages encompassing obsessive dotted rhythms of the Schubert and Schumann finale ilk unfold in long paragraphs that never bog down. The musicians sensitively address the Chantant movementās delicacy and subtle harmonic sleights-of-hand and balance the huge climaxes so that the soaring string melodies and sweeping piano arpeggios interact rather than compete.
If the Valse isnāt ideally lightfooted, I still appreciate the pointed contrapuntal repartĆ©e and timbrally differentiated pizzicatos. By contrast, the finale is both forceful and transparent, characterized by the performersā intelligently contoured counterpoint. They also avoid the easy temptation to inflate the chorale-like final pages with false grandiosity.
Laurenceau and Triendl more than hold their own among the Violin Sonataās (relatively) more extensive catalog choices. They effortlessly and insightfully navigate the musicās formidable technical demands and acres of textural thickness. Listen, for example, to the inner voices and bass lines coaxed out of the long slow movementās cascades of descending piano arpeggios, and notice the scrutiny with which Laurenceau and Triendl handle the compact and complex Scherzoās imitative passages. Colorful shaping also helps to intensify the finaleās fugal writing. After such a workout, youād expect a big ending payoff. But no, Magnard again goes for the quiet close. In other words, no immediate standing ovation! However, I heartily applaud these excellent performances of underrated works that both deserve and reward any serious music loverās attention.
-- ClassicsToday.com
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Magnard: Piano Trio Op. 18; Violin Sonata Op. 13 / Triendl, Hornung, Laurenceau
Magnard: Piano Trio Op. 18; Violin Sonata Op. 13 / Triendl, Hornung, Laurenceau
Since recordings of AlbĆ©ric Magnardās hefty 1904 Op. 18 piano trio are few and far between, any new contender is bound to get attention. On balance, violinist GeneviĆØve Laurenceau, cellist Maximilian Hornung, and pianist Oliver Triendl give us the most consistently satisfying version from both sonic and interpretive perspectives.
The sprawling first movementās potentially murky low-lying passages emerge with uncommon textural clarity, while the pages and pages encompassing obsessive dotted rhythms of the Schubert and Schumann finale ilk unfold in long paragraphs that never bog down. The musicians sensitively address the Chantant movementās delicacy and subtle harmonic sleights-of-hand and balance the huge climaxes so that the soaring string melodies and sweeping piano arpeggios interact rather than compete.
If the Valse isnāt ideally lightfooted, I still appreciate the pointed contrapuntal repartĆ©e and timbrally differentiated pizzicatos. By contrast, the finale is both forceful and transparent, characterized by the performersā intelligently contoured counterpoint. They also avoid the easy temptation to inflate the chorale-like final pages with false grandiosity.
Laurenceau and Triendl more than hold their own among the Violin Sonataās (relatively) more extensive catalog choices. They effortlessly and insightfully navigate the musicās formidable technical demands and acres of textural thickness. Listen, for example, to the inner voices and bass lines coaxed out of the long slow movementās cascades of descending piano arpeggios, and notice the scrutiny with which Laurenceau and Triendl handle the compact and complex Scherzoās imitative passages. Colorful shaping also helps to intensify the finaleās fugal writing. After such a workout, youād expect a big ending payoff. But no, Magnard again goes for the quiet close. In other words, no immediate standing ovation! However, I heartily applaud these excellent performances of underrated works that both deserve and reward any serious music loverās attention.
-- ClassicsToday.com
The sprawling first movementās potentially murky low-lying passages emerge with uncommon textural clarity, while the pages and pages encompassing obsessive dotted rhythms of the Schubert and Schumann finale ilk unfold in long paragraphs that never bog down. The musicians sensitively address the Chantant movementās delicacy and subtle harmonic sleights-of-hand and balance the huge climaxes so that the soaring string melodies and sweeping piano arpeggios interact rather than compete.
If the Valse isnāt ideally lightfooted, I still appreciate the pointed contrapuntal repartĆ©e and timbrally differentiated pizzicatos. By contrast, the finale is both forceful and transparent, characterized by the performersā intelligently contoured counterpoint. They also avoid the easy temptation to inflate the chorale-like final pages with false grandiosity.
Laurenceau and Triendl more than hold their own among the Violin Sonataās (relatively) more extensive catalog choices. They effortlessly and insightfully navigate the musicās formidable technical demands and acres of textural thickness. Listen, for example, to the inner voices and bass lines coaxed out of the long slow movementās cascades of descending piano arpeggios, and notice the scrutiny with which Laurenceau and Triendl handle the compact and complex Scherzoās imitative passages. Colorful shaping also helps to intensify the finaleās fugal writing. After such a workout, youād expect a big ending payoff. But no, Magnard again goes for the quiet close. In other words, no immediate standing ovation! However, I heartily applaud these excellent performances of underrated works that both deserve and reward any serious music loverās attention.
-- ClassicsToday.com
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Magnard: Piano Trio Op. 18; Violin Sonata Op. 13 / Triendl, Hornung, Laurenceauā
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Description
Since recordings of AlbĆ©ric Magnardās hefty 1904 Op. 18 piano trio are few and far between, any new contender is bound to get attention. On balance, violinist GeneviĆØve Laurenceau, cellist Maximilian Hornung, and pianist Oliver Triendl give us the most consistently satisfying version from both sonic and interpretive perspectives.
The sprawling first movementās potentially murky low-lying passages emerge with uncommon textural clarity, while the pages and pages encompassing obsessive dotted rhythms of the Schubert and Schumann finale ilk unfold in long paragraphs that never bog down. The musicians sensitively address the Chantant movementās delicacy and subtle harmonic sleights-of-hand and balance the huge climaxes so that the soaring string melodies and sweeping piano arpeggios interact rather than compete.
If the Valse isnāt ideally lightfooted, I still appreciate the pointed contrapuntal repartĆ©e and timbrally differentiated pizzicatos. By contrast, the finale is both forceful and transparent, characterized by the performersā intelligently contoured counterpoint. They also avoid the easy temptation to inflate the chorale-like final pages with false grandiosity.
Laurenceau and Triendl more than hold their own among the Violin Sonataās (relatively) more extensive catalog choices. They effortlessly and insightfully navigate the musicās formidable technical demands and acres of textural thickness. Listen, for example, to the inner voices and bass lines coaxed out of the long slow movementās cascades of descending piano arpeggios, and notice the scrutiny with which Laurenceau and Triendl handle the compact and complex Scherzoās imitative passages. Colorful shaping also helps to intensify the finaleās fugal writing. After such a workout, youād expect a big ending payoff. But no, Magnard again goes for the quiet close. In other words, no immediate standing ovation! However, I heartily applaud these excellent performances of underrated works that both deserve and reward any serious music loverās attention.
-- ClassicsToday.com
The sprawling first movementās potentially murky low-lying passages emerge with uncommon textural clarity, while the pages and pages encompassing obsessive dotted rhythms of the Schubert and Schumann finale ilk unfold in long paragraphs that never bog down. The musicians sensitively address the Chantant movementās delicacy and subtle harmonic sleights-of-hand and balance the huge climaxes so that the soaring string melodies and sweeping piano arpeggios interact rather than compete.
If the Valse isnāt ideally lightfooted, I still appreciate the pointed contrapuntal repartĆ©e and timbrally differentiated pizzicatos. By contrast, the finale is both forceful and transparent, characterized by the performersā intelligently contoured counterpoint. They also avoid the easy temptation to inflate the chorale-like final pages with false grandiosity.
Laurenceau and Triendl more than hold their own among the Violin Sonataās (relatively) more extensive catalog choices. They effortlessly and insightfully navigate the musicās formidable technical demands and acres of textural thickness. Listen, for example, to the inner voices and bass lines coaxed out of the long slow movementās cascades of descending piano arpeggios, and notice the scrutiny with which Laurenceau and Triendl handle the compact and complex Scherzoās imitative passages. Colorful shaping also helps to intensify the finaleās fugal writing. After such a workout, youād expect a big ending payoff. But no, Magnard again goes for the quiet close. In other words, no immediate standing ovation! However, I heartily applaud these excellent performances of underrated works that both deserve and reward any serious music loverās attention.
-- ClassicsToday.com
