Please wait...

Hyperion Records

Click cover art to view larger version
Ladies in the Country by Alexander Yakovlevich Golovin (1863-1930)
Sotheby’s Picture Library
Track(s) taken from CDH55399
Recording details: November 2000
Studio 1, The State House of Broadcasting and Audio-Recording, Moscow, Russia
Produced by Alexander Volkov
Engineered by Alexander Volkov
Release date: February 2002
Total duration: 26 minutes 55 seconds

'Such an innocent exuberance as well as an amiable lyrical impulse that it is hard not to find the music easy on the ear, especially in such infectious performances—splendidly energetic, and excellently recorded' (Gramophone)

'The Moscow Rachmaninov Trio make a convincing argument for this overlooked repertoire' (The Observer)

'The committed, forceful playing of the Moscow players makes a strong case for Grechaninov' (The Independent)

'Spirited, joyous, and brilliantly played' (American Record Guide)

'Strongly recommended' (Fanfare, USA)

'Lovely and fresh-sounding tonal works full of emotional tune-spinning' (Audiophile)

Piano Trio No 1 in C minor, Op 38
1906; dedicated to Taneyev

Lento assai  [9'16]
Allegro e vivace  [8'05]

Introduction  EnglishFrançaisDeutsch
The Piano Trio No 1 in C minor, Op 38, dedicated to Taneyev and dating from 1906, is as we might expect overtly ‘Russian’, not to say Tchaikovskian. The first movement Allegro passionato is firmly in traditional sonata form. Thus it is that the first subject of the opening movement has an urgent character and the contrasting second subject is in the usual relative major key of E flat major; the development section moves to the remote key of C flat major which involves a thorough working of the material before C minor returns.

A simple transition, via B flat, opens the second movement, Lento assai, which is actually in A flat major (another falling second) as the beautiful violin theme at once establishes. After much elaboration, the music then falls to D flat major, before briefly retracing its steps. The finale, Allegro e vivace, firmly returns to C minor, and here the influence of Rachmaninov is most apparent, particularly the finale of his second Piano Concerto, which is almost directly quoted at several points. The work ends in a fiery mood.

from notes by Robert Matthew-Walker © 2002

   English   Français   Deutsch