"In some circles Schumann’s three piano trios are considered uneven works with cumbersome passages. Do not believe it. In these scintillating performances, three splendid musicians — Leif Ove Andsnes, Christian Tetzlaff and Tanja Tetzlaff, his sister — convince you that the Schumann trios are consistently inspired and major scores." -- Anthony Tommasini, New York Times
"This double CD set of Schumann’s
Complete Works for Piano Trio is a welcome addition to the chamber music catalogue. The trio prove to be fine ensemble giving both stirring and satisfying performances. There is a something very natural about the musicianship on show here.
Schumann’s works for Piano Trio wereRead more greatly inspired by the chamber works of Haydn, Mozart, Beethoven, Mendelssohn and Schubert - all great masters that he passionately revered. Composed in 1842 the little suite of
Four Character Pieces was Schumann’s earliest work in the genre. He later revised it for publication in 1850 as his
Fantasiestücke, Op. 88. It is an appealing and rewarding score, light and melodic in texture. The first piece is the shortest - a tender yet rather serious
Romanze. A far lengthier piece, the
Humoreske is light-hearted and buoyant with a touch of seriousness. Like a gentle dialogue the violin and cello play a delicate
Duet over sensitive piano accompaniment. I enjoyed the joyous reverie and march-like rhythms of the
For a library version of the
Fantasiestucke I can enthusiastically propose the 2002 Berlin account from Martha Argerich, Gidon Kremer and Mischa Maisky. The starry cast performs with spontaneity, swiftness and great zeal on Deutsche Grammophon 463 700-2. (c/w Brahms
Piano Quartet No. 1, Op. 25 with Yuri Bashmet, viola)
In 1845 Schumann composed his
in the Form of Canons for Organ or Pedal Piano, Op. 56. Schumann’s friend Theodor Kirchner later arranged these
for piano trio. Light, varied and enjoyable pieces the breezy first is quite lovely.
Étude two is tender, a touch demure and the contrasting
third is melodic and expressive with a distinct sighing quality. The
fourth is a charming romantic song, the highly rhythmic
fifth piece is dance-like followed by the
a heart-breaking elegy heavy with loneliness.
Schumann composed his four movement
Piano Trio No. 1 in 1847. He gave his wife Clara the score as a present for her twenty-eighth birthday. This is the longest, most symphonic and most reflective in character. It is regarded by many as the greatest of the three. Clara recorded in her diary that, “
The first movement is one of the most beautiful that I know.” The appealing opening feels symphonic in texture with a windswept and restless ambience. The
Scherzo swells with forward momentum. Its relatively calm centre soon gives way to the return of the surging writing. Like an extended lament the third movement exudes a deeply aching melancholy. The boldly resolute
Finale is more positive and ebullient.
It was typical of Schumann to follow one successful work with another in the same genre. He began preliminary work on his four movement
Piano Trio No. 2 before he had finished the
D minor, Op. 63. In her diary Clara noted, “
I love it passionately and keep on wanting to play it!” The high-spirited opening evokes a sense of summer and open spaces. The rapturous slow movement is highly appealing. Agreeable and somewhat delicate the music feels rather too slow for a
Scherzo more in the manner of a
Minuet. A breezy
Finale with a curious hesitancy increases in speed but is soon reined back in.
F major Piano Trio it was four years before Schumann in 1851 wrote his four movement
Piano Trio No. 3, Op. 110. The amiable and high-spirited score made quite an impression on Clara who commented that, “
It is unique, full of passion, through and through…” Schumann dedicated it to his friend the composer Niels Gade. In the opening movement the highly passionate, sweeping lines carry the burden of anxiety. Refined and sensitive the second movement has a stormy central section that rudely interrupts the mood before the gentle dance returns. A curiously paced and agitated
Scherzo contains swiftly changing tempi and moods. The
Finale overflows with joy and uplifting bursts of energy, however a certain restlessness is never far away.
For alternative accounts of Schumann’s three
Piano Trios I can recommend the exceptional set from the eminent Beaux Arts Trio. Recorded in 1971 at La Chaux-de-Fonds in Switzerland the polished trio play with remarkable liveliness and refinement. Now over forty years old these evergreens belie their age with the recording remaining extremely impressive (Philips 456 323-2 c/w
Piano Quintet, Op. 44 and
Piano Quartet, Op. 7).
The accompanying booklet contains a fine essay from David Threasher."
-- Michael Cookson, MusicWeb International Read less
Highly RecommendedMarch 6, 2019By Robert C. (Tucson, AZ)See All My Reviews"Technically flawless, deeply felt performances. If they plan on recording more of the piano trio repertoire, I plan on buying. I hardly knew the Schumann piano trios a month ago. Now they are treasures to me."Report Abuse
A recording superior in every wayOctober 3, 2012By Allan Clark (Carlsbad, CA)See All My Reviews"These performances are first rate in every way with amazing clarity and presence thoughout. The three piano trios are everything you could want musicallybright and lively, balanced, precise, and sensitive. The last movement of the first trio is marked "Mit feuer" and it is hard to imagine it performed with a more intense and blazing climax. The six little etudes written originally for pedal piano were entirely new to me. In this arrangement for piano trio by Kirchner they are delightful little gems, showing what Schumann could achieve within a small compass. The sound is terrific throughoutclear, crisp, with marvelous presence."Report Abuse