His use of portamento in the second movement (Andante con moto) makes this an ultra-special recording for me. While everyone works together as we might imagine, it's Casals' cello playing that takes this performance for me. The interplay between Serkin's playing (which I think was the best in his career: no harshness, lovely singing tone, and complete blend of minds between all the performers).Īnother historical version that is exemplary is Mieczyslaw Horszowski, piano Alexander Schneider, violin Pablo Casals, cello. There are occasions when, even in the days of 78-rpm recordings, everything seems perfect this has to be one of those times. 100: Columbia/Sony CD 48088 with Rudolf Serkin, piano Adolf Busch, violin Hermann Busch, cello, recorded DecemThe disc was also published on an EMI CD. The E-flat Trio, however, has one recording-an historical one-that has yet to be surpassed for me:įirst Pick: Schubert Piano Trio No. There have been a number of recordings made of both trios over the years, and most of them I have heard are wonderful readings. I love both equally, but the heartfelt sensitivies, urgency and poignancy of the E-flat Trio really make this my choice of the two trios, and of the two, I think this is the one I would like played at my funeral if such things could be possible. 99 and 100, the first in B-flat Major and the second in E-flat Major. Coming out of 1827 Vienna were two of the most extraordinary pieces of chamber music ever written, Schubert's Piano Trios, Opp.
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