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HAYDN (1732-1809) Piano Trios - Volume 1
Piano Trio in D major, Hob XV: 24 (1794-5) [15:15]
Piano Trio in G major ‘Gypsy Rondo’, Hob XV: 25 (1794-5)
[13:42]
Piano Trio in F sharp minor, Hob XV: 26 (1794-5) [16:27]
Piano Trio in C major, Hob XV: 27 (1794-5) [19:02]
Florestan
Trio
rec. Henry Wood Hall, London, 27-29 March 2008 HYPERION CDA67719 [64:28]
Haydn is seen as the ‘father’ of
so many classical forms; the symphony, the string quartet,
the piano sonata, and it’s certainly true of the piano
trio. He raised the bar considerably in taking the genre
from light home entertainment, where piano was basically
accompanied by a couple of string players, to the more
elevated level we are now accustomed to. It is true most
of his trios are still quite short and are still piano-led,
but the working out of thematic material and the interplay
between the instruments surely point the way ahead for
a form that many future composers ended up exploring.
The Florestan Trio have
obviously been biding their time to investigate Haydn,
having delved into much of the other trio repertoire on
disc already. It could be because it’s the bicentenary,
or maybe they just wanted to live with the music longer
before committing it to disc. Either way, it’s been worth
the wait. The playing here, as you would expect, is beautifully
poised, highly polished but has a rhythmic vitality and
energy that do full justice to the music. Yes, these are
modern instruments, but one feels they have taken a hint
or two for period practice in terms of tempos, phrasing
and overall shape. The tone of the two string instruments
is quite strident at times – though never uncomfortable
so – and pianist Susan Tomes’ articulation and dexterity
are brilliant in every sense of the word, with a Steinway
that sounds bright and clear voiced.
The works are all gems
from Haydn’s second London visit of 1794-5, and the first
three are dedicated to Rebecca Schroeter, a composer’s
widow to whom he gave lessons during this period; the letters
that survive suggest a warm, intimate relationship developed
that may indeed have gone further if circumstances had
been different. The music throughout has a mercurial wit
and melodic invention that are irresistible. Highlights
include the famous ‘Gypsy Rondo’ finale to the G major,
a glittering miniature in its own right; the glorious slow
movement of the F sharp minor - where material is shared
with the London Symphony No.102 - and the melancholic minuet
that follows. Indeed, it’s possible to read extra-musical
associations into the whole of this lovely trio such is
the expert mixture of sadness and mercurial virtuosity,
none of which is missed by the Florestan.
So, an auspicious start
to what one hopes will encompass all, or most, of the 30-odd
trios in the series. The benchmark recording for some years
has been the Beaux Arts Trio’s complete 9 CD Philips set
from 1997, and those I have sampled are every bit as urbane
and sensitive as you would expect. There are other rivals,
but those who want that bit more zip and rhythmic alertness
could do well to investigate this excellent new Florestan
disc. The recorded sound is superb, and with typically
full and intelligent notes from Robert Philip, this is
self-recommending. Roll on the rest!
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