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American Moments / Neave Trio

Release Date: 11/18/2016 
Label:  Chandos   Catalog #: 10924  
Composer:  Erich Wolfgang KorngoldLeonard BernsteinArthur Foote
Orchestra/Ensemble:  Neave Trio
Number of Discs: 1 
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Notes and Editorial Reviews

Engage, Exchange, Connect. That is what this young American piano trio is all about, on stage as well as on this album, it's very first. Experience the group at it's revelatory best in these idiomatic and fresh interpretations of early-twentieth-century American piano trios, by Foote, Korngold and Bernstein. As reported by WXQR radio, "Neave is actually a Gaelic name meaning 'bright' and 'radiant', both of which certainly apply to this trio's music making." Praised for their "heart-on-sleeve performances" (Classical New Jersey), the Neave Trio has been described as "A consummate ensemble" (Palm Beach Daily News), "A revelation" (San Diego Story), and "A brilliant trio..." (MusicWeb Read more International), one that has "exceeded the gold standard and moved on to platinum" (Fanfare). Read less

Works on This Recording

Trio for Piano, Violin and Cello, Op. 1 by Erich Wolfgang Korngold
Orchestra/Ensemble:  Neave Trio
Period: 20th Century 
Written: 1910; Vienna, Austria 
Trio for Violin, Cello and Piano by Leonard Bernstein
Orchestra/Ensemble:  Neave Trio
Period: 20th Century 
Written: 1937; USA 
Trio for Violin, Cello, and Piano in B flat major, Op. 65 by Arthur Foote
Orchestra/Ensemble:  Neave Trio
Period: Romantic 
Written: 1907-1908; USA 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Outstanding performances of sometimes great music November 21, 2016 By Dean Frey See All My Reviews "Little Erich Wolfgang Korngold must have been excited when his first work was published by the distinguished firm Universal Editions of Vienna. Though his father was an important critic, the thirteen year old composer reached this Opus 1 milestone on his own merits, for this is an astonishingly accomplished work for one so young. Korngold's music came with raves from important people like Richard Strauss and Gustav Mahler, but the quality of the music is really self-evident. The piece is a perfect picture of one facet of Viennese music in 1910: it's full of sentiment and emotion, of gaiety and seriousness all mixed together in a delicious pastry. It steers clear of the modernism that Korngold's conservative father railed against, but there's enough harmonic and rhythmic sophistication to keep things interesting. The adolescent boy was even then building solid musical arcs, never dawdling or over-indulging when he comes across a good, big tune. These were all good traits for his future career in Hollywood. The young musicians of the Neave Trio put across this music in just the right way, with enough warmth but not too much schmaltz. Leonard Bernstein was also a teenager when he wrote his Trio in 1937, though he was a good six years older than Korngold. This piece is nowhere near as proficient as Korngold's, with its academic roots evident, and its European modernist influences unevenly integrated. But there is considerable interest in thinking about where Bernstein will take certain aspects of this music later in his career. The jazzy second movement has its moments, and the marvellously atmospheric but simple opening of the final movement, which doesn't really move on to anything in this work, nevertheless points ahead to the great music to come. The performers keep things light and keep things moving, and provide as strong a case for this Trio as its slight frame can bear. Arthur Foote's 2nd Trio is a mature work, and the Neave Trio have quite rightly placed it last on the program, since it has real weight and serious purpose. I think I prefer the new version by just a hair to the very good Arden Trio disc on Naxos, which is a bit breathless at times. The depth of feeling in the gorgeous slow movement is a tribute to the abilities of these fine musicians, as well as Foote's as a composer. This is outstanding music making. I have a bit of a problem with the title of the disc: American Moments. The Korngold is as Viennese as Schlosserbuben; America was decades in the future, and the young Erich Wolfgang was blissfully unaware of the horrors that would take him there. The Bernstein is trans-Atlantic at best, with as much Stravinsky as jazz, though his authentic American voice would come soon under the tutelage of Aaron Copland. And Foote's music lives cheek-by-jowl with Faure, Franck and Brahms, though underneath he's a real Yankee Transcendentalist. But this is a small matter, considering the excellent presentation of two special works, and one less special but still of real interest." Report Abuse
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