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Hyperion Records

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The Harvest (1914) by Boris Mikhailovich Kustodiev (1878-1927)
Astrakhan State Gallery B M Kostodiev, Astrakhan, Russia / Bridgeman Art Library, London
Track(s) taken from CDA67573
Recording details: January 2008
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: October 2008
Total duration: 16 minutes 58 seconds

'It would be hard to over-praise the Leopold Trio's performances. Agility and all-round aplomb … warmth and colour … structural and idiomatic awareness … fine recording quality and helpful annotation too; so no reason not to invest' (Gramophone)

'Listening to the three trios that the Leopold String Trio present with such commitment and persuasiveness leaves no doubt as to Taneyev's contrapuntal ingenuity and resource … excellent recorded sound makes this a rewarding issue in every way' (BBC Music Magazine)

'There is … an individual creative spark, urgency and textural richness that the Leopolds communicate with sensitivity and terrific panache' (The Daily Telegraph)

'The Leopold String Trio … are arguably the leading such trio in the world … Taneyev was one of the greatest Russian musicians of his time. His mastery of the craft of composition was legendary among his contemporaries—he was praised especially by Tchaikovsky and Rachmaninov … the three string trios on this Hyperion CD make a very important contribution to our knowledge of Russian chamber music of the period … each stands alone as the individual product of a great musician, making this issue a CD of no little importance … a fascinating and at times enthralling listening experience … the music is inherently Russian, beautifully composed and so varied in convincing expression that the attentive listener is at once drawn into the composer's world. This is wonderful music, wonderfully performed and recorded … highly recommended' (International Record Review)

'Star pupil of Tchaikovsky and Rachmaninov's mentor, Taneyev was also a fine composer, as witness these enchanting, beguilingly performed gems' (Classic FM Magazine)

'The competition isn't quite up to their level … the Leopold String Trio versions are, to my ear, as good as it gets' (Fanfare, USA)

String Trio in B minor
November/December 1913; published in the 1940s with the 1st movement ending and some of the second movement requiring reconstruction from Taneyev's sketches

[Allegro]  [7'00]

Introduction  EnglishFrançaisDeutsch
The String Trio in B minor, on which Taneyev worked in November or December 1913, was almost his last composition, his chamber-music swansong. In fact, he did not live to finish the work, and when it was eventually published in the 1940s the editors had to reconstruct the ending of the first movement and a substantial part of the second from Taneyev’s sketches. They argued, however, that the fact that both movements were in the same key suggested that these were all that Taneyev had planned; and in fact their structure (a sonata-form Allegro and a theme with variations) makes a well-balanced diptych. (By a strange coincidence, the British composer John Foulds composed a string trio in exactly the same form the year before Taneyev’s.)

Unlike Taneyev’s other two trios, the B minor is a sombre, troubled work, as is immediately evident from the nervous oscillations of the opening of the Allegro. The febrile mood, the sometimes intensely chromatic harmony, the passionate climaxes that appear and disappear, the restless rise and fall of the cello’s figurations, all point towards a change in aesthetic orientation on Taneyev’s part. Passages of this movement might be characterized as expressionistic.

The Andante theme of the second movement has much more of a folk-song style, but the mood remains haunted and elegiac. There follow seven variations (the last four of which Taneyev had left in sketch) that create a kind of self-contained miniature suite. Whether fast or slow, they do not depart so far from the theme as to make it unrecognizable, but they show the composer’s great resourcefulness in harmonic colouring and rhythmic variation. The first three retain the theme’s innate sadness, which comes out clearly in the Andante third variation. A highly contrapuntal Presto and a determined Allegro con spirito attempt to raise the spirits, but even here there is a sense of melancholy and oppression. Not even the sweetly lyrical Moderato sixth variation can wholly shake it off. The last variation, Presto, makes for an effective and rhythmically exciting finale, but one as essentially tense and austere as the mood in which the work began. The final pizzicato cadence, cutting off the violin’s rising line, makes a curt close to the proceedings.

from notes by Calum MacDonald İ 2008

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