Notes and Editorial Reviews
Dal Segno in a burst of reissues regale us afresh with discs that
may well have escaped us first time around. This is a well mixed
collection and is a successor to the Hartley Trio's British and
Czech piano trio discs: Dvorák: Piano Trio in G minor,
op.26*; Fibich: Trio in F minor* Gamut GAMCD 523 (1991); Bridge:
Phantasie in C minor; Clarke: Piano Trio*; Ireland: Phantasie
in A minor* Gamut GAMCD 518 (1990)
I have not heard the others but this one adopts a warmly cloaked
sound - a cocooned effect with calorific radiance aplenty.
The
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Beach is romantic and witty, rather Brahmsian yet pointed
and florid. It's a confident piece of writing recalling the Franck
chamber works. The Ives Trio - over three movements - manages
both avant-garde and fragmented expressionism. Its second movement
is frenetic and makes wildly anarchic and discordant play across
some 20 popular tunes. It’s the sort of piece that would
at one stage have appealed to Peter Maxwell Davies - it is termed
TSIAJ (This Scherzo Is A Joke). The trio dissonantly melts Rock
of Ages out of focus and back and out again. Fascinating.
Bloch, we are reminded by the pithy notes, became an American
citizen in 1924, the same year in which he wrote these Three
Nocturnes. The first of these is an Andante, highly
intense and darkly optimistic with gritty courage and chiming
beauty in the piano part at 00:29. The Andante quieto is
tender and close to sentimental. Ruthless determination invigorates
the Tempestoso which is further evidence that when Bloch
sets about nocturne writing he is not interested just in sleep.
It makes an edgy end to the Nocturnes. Copland's Vitebsk
is dedicated to Roy Harris. It's a vinegary and uningratiating
piece: much troubled, melodramatic and forthright. It ends quietly.
Henry Cowell is a fascinating composer and something of an undiscovered
colossus such is the span of his output. His Trio - Four Combinations
of Three Instruments - is another work in which dissonance
is accommodated with subtlety alongside a more slowly evolutionary
and limpid melodic line. Most striking of the movements is the
dewdrop Bachian chiming and trilling of the final and magical
Largo. The four movements deploy: I, violin and cello II,
violin and piano, III, cello and piano, IV, all three instruments.
As is characteristic of these Dal Segnos no total playing time
is declared and the notes are anonymous.
A subtle collection satisfyingly avoiding the obvious.
-- Rob Barnett, MusicWeb International Read less
Works on This Recording
1.
Trio for Piano, Violin and Cello in A minor, Op. 150 by Amy Marcy Beach
Performer:
Jaqueline Hartley (Violin),
Lionel Handy (Cello),
Caroline Clemmow (Piano)
Orchestra/Ensemble:
Hartley Piano Trio
Period: Romantic
Written: 1938; USA
Length: 12 Minutes 12 Secs.
2.
Trio for Piano, Violin and Cello by Charles Ives
Performer:
Jaqueline Hartley (Violin),
Lionel Handy (Cello),
Caroline Clemmow (Piano)
Orchestra/Ensemble:
Hartley Piano Trio
Period: 20th Century
Written: 1904-1911; USA
Length: 23 Minutes 10 Secs.
3.
Nocturnes (3) for Piano, Violin and Cello by Ernest Bloch
Performer:
Jaqueline Hartley (Violin),
Lionel Handy (Cello),
Caroline Clemmow (Piano)
Orchestra/Ensemble:
Hartley Piano Trio
Period: 20th Century
Written: 1924; USA
Length: 7 Minutes 25 Secs.
4.
Vitebsk by Aaron Copland
Performer:
Jaqueline Hartley (Violin),
Lionel Handy (Cello),
Caroline Clemmow (Piano)
Orchestra/Ensemble:
Hartley Piano Trio
Period: 20th Century
Written: 1929; USA
Length: 11 Minutes 33 Secs.
5.
Trio "Four Combinations" by Henry Cowell
Performer:
Jaqueline Hartley (Violin),
Lionel Handy (Cello),
Caroline Clemmow (Piano)
Orchestra/Ensemble:
Hartley Piano Trio
Period: 20th Century
Written: 1924; USA
Length: 8 Minutes 52 Secs.
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