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Track(s) taken from CDA67719

Piano Trio in C major, Hob XV:27

composer
published in London in 1797; dedicated to Therese Jansen

The Florestan Trio
Recording details: March 2008
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: February 2009
Total duration: 19 minutes 0 seconds

Cover artwork: The Gypsy Tent by William Shayer (1811-1892)
© Wolverhampton Art Gallery / Bridgeman Art Library, London
 
1
Allegro  [7'48]
2
Andante  [4'39]
3
Presto  [6'33]

Reviews

'Tomes and her partners identify themselves fully with the emotional scale of the works … there is so much from the Florestan to stop us in our tracks … a very special disc, recorded in detailed, front-row sound' (Gramophone)

'These are altogether lively and alert performances, with repeats imaginatively varied, and a real feel for the subtle balance of the music' (BBC Music Magazine)

'Four of Haydn's later trios, including the familiar 'Gypsy Rondo', are played here by the Florestan Trio with a captivating grace' (The Observer)

'The articulation of Susan Tomes and her colleagues is alert and imaginative, with a 'period-instrument' feel for texture, effortlessly capturing Haydn's mercurial wit' (The Sunday Times)

'The Florestan is the ultimate in gentility and grace … the playing, interpretation, and recorded sound are perfection; every note, every phrase, every balance is beyond criticism' (Fanfare, USA)

'It is a pleasure to hear the Florestans strike their expected and convincing balance. They are a Haydnesque ensemble in the very best sense' (NewClassics.com)

'It would be hard to find crisper performances of Haydn's piano trios. The Florestan Trio is not a period instrument ensemble, but it never makes us wish it were, for these musicians don't play Haydn as if it were Beethoven or Schubert. The interpretations are articulate, stylish and vivid; accents spit and tingle; and passagework whizzes sharp and serrated as a saw blade. They take risks: some fast movements move at blistering speeds, and the exaggerated upbeats and shifts in tempo make their free-wheeling Gypsy Rondo sound like the real thing. Slow movements sing, and the balance—so crucial in these trios—is heavenly' (The Globe and Mail, Canada)

'This first volume in a projected series of the complete Haydn piano trios promises many future delights. The performances are, by and large, excellent … kudos particularly are in order for pianist Susan Tomes. These are keyboard works first and foremost, and she leads with great sensitivity and elegance' (ClassicsToday.com)

'What comes through vividly here is Haydn’s capacity to surprise; and the discovery of the music is in listening to them. Suffice it to say that the music’s essential grace, lightness and sparkle is affectionately captured by the members of The Florestan Trio, who are also alive to the musical and emotional diversions that Haydn imaginatively and wittily incorporates … with excellent recorded sound and an illuminating booklet note by Robert Philip, this release offers much joy' (ClassicalSource.com)
Hob XV:27 in C major is the first of a set of three trios dedicated to Therese Jansen, and published in London in 1797, after Haydn had returned to Vienna. Therese Jansen was another pianist whom Haydn had met during his two visits to London. In 1795, at the age of twenty-five, she married Gaetano Bartolozzi, an art dealer and son of a well-known engraver, and Haydn was a witness at their wedding. Far from being a mere amateur pianist like most of Haydn’s patrons, she was one of Clementi’s best pupils, with a great reputation as a teacher, though she did not have a career as a public performer. Haydn also dedicated to her two of his most important solo piano sonatas, in E flat and C major. This trio, with its virtuoso piano-writing, suggests that she was a very fine performer.

The first movement is a substantial Allegro with a piano part of ceaseless activity: elaborate figurations and grace notes, rapid octaves, sudden contrasts of mood, key, register and dynamics. Once more, Haydn shows off the full capabilities of the English grand pianos, with their full tone and impressive bass register (Therese Jansen must certainly have owned one). As a complement to the elaboration of the piano part, Haydn gives the violinist considerably more independence than in most ‘accompanied sonatas’, with frequent passages of dialogue between piano and violin. The same is true of the slow movement, an Andante which begins gently, but is increasingly decorated with florid division and ornamentation by both piano and violin. Like the first movement, it is full of surprising changes of mood and colour. A central episode becomes brusque, with insistent accents on the main beats that evoke the rustic Hungarian music on which Haydn often drew. After two rather densely written movements, the finale comes as a complete contrast. It is as light as a feather, its perky main theme observed from all possible angles, and the witty banter culminating in a delightfully abrupt ending.

from notes by Robert Philip © 2009

En 1797, rentré à Vienne, Haydn fit paraître à Londres trois trios—Hob XV:27 est le premier—dédiés à Therese Jansen, une autre pianiste qu’il avait rencontrée pendant ses deux séjours londoniens: en 1795, il avait été témoin à son mariage (elle avait alors vingt-cinq ans) avec Gaetano Bartolozzi, marchand d’art et fils d’un célèbre graveur. Loin de pratiquer le piano en amateur comme la plupart de ses mécènes, elle était l’une des meilleures élèves de Clementi, doublée d’un professeur fort réputé, même si elle n’eut pas de carrière publique. Haydn lui dédia aussi deux de ses plus importantes sonates pour piano solo, celles en mi bémol et en ut majeur. L’écriture pianistique virtuose de ce trio laisse entendre qu’elle était une excellente interprète.

Le premier mouvement est un substantiel Allegro, avec une partie de piano à l’activité incessante: figurations élaborées et petites notes, octaves rapides, brusques contrastes de climat, de tonalité, de registre et de dynamique. Là encore, Haydn met en valeur toutes les capacités des pianos à queue anglais, au son plein et à l’impressionnant registre de basse (Therese Jansen en possédait certainement un). En complément à la partie de piano élaborée, le violon se voit accorder bien plus d’indépendance que dans la plupart des «sonates accompagnées», avec de fréquents dialogues entre les deux instruments. Il en va de même dans le mouvement lent, un Andante qui part doucement mais est de plus en plus décoré par des divisions fleuries et des ornementations pianistiques et violonistiques. Comme le premier mouvement, il abonde en surprenants changements de climat et de couleur. Un épisode central se fait brusque, avec d’insistants accents sur les temps principaux qui évoquent la musique campagnarde hongroise sur laquelle Haydn s’appuya souvent. À l’encontre de ces deux mouvements assez densément écrits, le finale est léger comme une plume. Son thème principal enjoué est observé sous tous les angles et son verveux badinage culmine en une conclusion délicieusement soudaine.

extrait des notes rédigées par Robert Philip © 2009
Français: Hypérion

Hob XV:27 in C-Dur ist ein Heft mit drei Trios, die Therese Jansen gewidmet sind und 1797, nachdem Haydn nach Wien zurückgekehrt war, in London veröffentlicht wurden. Therese Jansen war eine weitere Pianistin, die er während seiner beiden Londonbesuche getroffen hatte. 1795, im Alter von 25, heiratete sie Gaetano Bartolozzi, einen Kunsthändler und Sohn eines bekannten Kupferstechers, und Haydn war auf ihrer Hochzeit Trauzeuge. Anders als die meisten Mäzene Haydns war sie keine schlichte Musikliebhaberin, sondern eine der besten Schülerinnen Clementis, und obwohl sie keine Karriere als Konzertpianistin hatte, besaß sie einen ausgezeichneten Ruf als Lehrerin. Haydn widmete ihr auch zwei seiner bedeutendsten Soloklaviersonaten in Es-Dur und D-Dur. Dieses Trio mit seinem virtuosen Klaviersatz lässt vermuten, dass sie eine ausgezeichnete Spielerin war.

Der erste Satz ist ein ausgedehntes Allegro mit einer unablässig aktiven Klavierstimme: komplizierte Figurationen und Vorschläge, rapide Oktaven, plötzliche Kontraste in Stimmung, Tonart, Register und Dynamik. Haydn stellt wiederum das volle Potential der englischen Flügel mit ihrem vollen Ton und eindrucksvollen Bassregister zur Schau (Therese Jansen besass bestimmt einen). Als Gegenstück zur zierreichen Klavierstimme gibt Haydn dem Geiger wesenlich mehr Selbstständigkeit als in den meisten „begleiteten Sonaten“, mit häufigen Dialogpassagen zwischen Klavier und Violine. Das trifft auch auf den langsamen Satz zu, ein Andante, das sacht beginnt, aber von Klavier und Violine zusehends mit Verzierungen überladen wird. Wie der erste Satz steckt es voller Stimmungs- und Farbenwechsel. Eine Episode in der Mitte wird brüsker: mit eindringlichen Akzenten auf den Haupttaktschlägen, die rustikale ungarische Musik evozieren, auf die Haydn oft zurückgriff. Nach zwei eher dichten Sätzen folgt das Finale als totaler Kontrast. Es ist federleicht, sein munteres Hauptthema wird von allen Seiten beleuchtet, und der witzige Austausch kulminiert in einem entzückend abrupten Ende.

aus dem Begleittext von Robert Philip © 2009
Deutsch: Renate Wendel

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