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Track(s) taken from CDA67889

Piano Trio No 1, Op 35

composer
1926; dedicated to L'Infante Doña Isabel de Borbón; first performed in London on 5 July 1927

The Nash Ensemble
Recording details: December 2010
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: April 2012
Total duration: 20 minutes 49 seconds

Cover artwork: Clotilde and Elena on the Rocks, Javea (1905) by Joaquin Sorolla y Bastida (1863-1923)
Private Collection / Photo © Christie's Images / Bridgeman Art Library, London
 
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Sonate: Allegro  [6'32]

Reviews

'There's a gentle melancholy to overtly Spanish pieces such as La oración del torero and a warm, beguiling tunefulness to … the Piano Quartet, Op 67, all seductively played by The Nash Ensemble' (The Daily Telegraph)

'This excellent CD of chamber music … the performances throughout by these outstanding musicians, who are clearly wholly committed to Turina's music, are deeply impressive. The recording quality is also first-rate. Hyperion's world-renowed production values are equally consistently admirable and fully maintained here' (International Record Review)

'The near-masterpieces here … are the splendid Piano Trio Op 35, the A minor Piano Quartet Op 67, and the Violin Sonata, played with searing tone and rhythmic dash by Marianne Thorsen and Ian Brown, mainstays of the wonderful Nash Ensemble. Lawrence Power's viola and Paul Watkins' cello shine in, respectively, the Escena andaluza and the songful tenor/bass melodies of the trio. It would be hard to imagine more compelling performances' (The Sunday Times)

'Played with relish and sensitivity … this is music that paints pictures and is imbued with Spanish sunshine and sensual nocturnes, the listener serenaded with expressive warmth and a wide palette of colour, all lovingly played' (Time Out)
The Piano Trio No 1, Op 35, is an imaginative mixture of the learned style Turina acquired in Paris and folkloric inspiration provided by his homeland. The first movement is a prelude and fugue, blending the techniques of the contemporaneous French School with those of German masters such as Bach. The second movement is a theme and variations, a form which has a long tradition in Spanish music. In this case each of the variations evokes a dance from a different region of Spain: the muñeira, a miller’s dance from Galicia; the schotis, a dance of northern European origins but popular in Spain; the zortziko of the Basque region; the jota of Aragon; and the soleares of Turina’s native Andalucia. The third movement, in sonata form, reintroduces thematic materials from the first movement to give the entire opus a unifying ternary quality. The Piano Trio was dedicated to L’Infante Doña Isabel de Borbón and premiered in London on 5 July 1927.

from notes by William C Krause © 2012

Amalgame inventif, le Trio avec piano nº 1 op. 35 réunit le style savant acquis par Turina à Paris et l’inspiration folklorique venue de sa patrie. Le premier mouvement est un prélude et fugue mariant les techniques de l’école française contemporaine à celles des grands maîtres allemands comme Bach. Le deuxième mouvement est un thème et variations. Cette forme a une longue tradition dans la musique espagnole. Ici, chaque variation évoque une danse typique d’une région d’Espagne: la muñeira, danse de meunier galicienne; la schotis, originaire d’Europe du Nord mais populaire en Espagne; le zortziko basque; la jota aragonaise; et les soleares de l’Andalousie natale de Turina. Le troisième mouvement, de forme sonate, réintroduit des matériaux thématiques du premier mouvement pour conférer à l’opus une dimension ternaire unificatrice. Ce Trio avec piano fut dédié à l’Infante Doña Isabel de Borbón et créé à Londres le 5 juillet 1927.

extrait des notes rédigées par William C Krause © 2012
Français: Hypérion

Das Klaviertrio Nr. 1 op. 35 verbindet ebenfalls in phantasievoller Weise den akademischen Stil, den Turina sich in Paris angeeignet hatte, mit der Inspirationsquelle der Volksmusik seines Heimatlandes. Im ersten Satz, einem Präludium mit Fuge, werden die Techniken der zeitgenössischen französischen Schule mit denen der deutschen Meister, insbesondere Bach, kombiniert. Der zweite Satz ist ein Thema mit Variationen. Wie bereits in Bezug auf die Violinsonate bemerkt, hatte diese Form eine lange Tradition in der spanischen Musik. In diesem Fall stellt jede Variation einen Tanz aus unterschiedlichen Regionen Spaniens dar: die Muñeira, ein Müllertanz aus Galicien; der Chotis, ein ursprünglich nordeuropäischer, jedoch in Spanien populärer Tanz; der Zortziko aus dem Baskenland; die Jota aus Aragón sowie die Soleares aus Turinas heimatlichem Andalusien. Im dritten Satz, der in Sonatenform angelegt ist, wird thematisches Material aus dem ersten Satz verarbeitet, was dem Gesamtwerk eine einheitliche dreiteilige Struktur verleiht. Das Klaviertrio wurde der Infantin Doña Isabel de Borbón gewidmet und am 5. Juli 1927 in London uraufgeführt.

aus dem Begleittext von William C Krause © 2012
Deutsch: Viola Scheffel

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