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Track(s) taken from CDH55232

Trio Sonata in B flat major, H584 Wq158

composer
1754

The Purcell Quartet
Recording details: October 1986
Seldon Hall, Haberdashers' Aske's School, Hertfordshire, United Kingdom
Produced by Martin Compton
Engineered by Antony Howell
Release date: November 1988
Total duration: 13 minutes 10 seconds
 
1
Allegretto  [4'28]
2
3
Allegro  [4'39]

Reviews

'This 1986 recording is still worth hearing. The 'conversational' trio sonata is an astonishing attempt to prove that music can communicate without the need for words, and there is brilliance in the gamba sonata' (BBC Music Magazine)
Friendly discourse is the pattern of the relationship between the two violins in the Trio Sonata in B flat, written in 1754. The upper instruments either alternate in amicable dialogue or move together in parallel thirds and sixths. The quick changes of mood which are characteristic of the keyboard sonatas are less in evidence here. The muted main theme of the slow movement makes one wonder whether Mozart knew it. The pizzicato theme derives from the bass part, which is thematically more integrated with the violin parts than in the other movements. In the last movement, the violin writing is more imitative in texture.

from notes by Clifford Bartlett © 1988

Le discours amical: voilà ce qui unit les deux violons de la Sonate en trio en si bémol, écrite en 1754. Les instruments supérieurs alternent entre dialogue aimable et passages joués ensemble, en tierces et sixtes parallèles. Les rapides changements de climat, caractéristiques des sonates pour clavier, sont ici moins flagrants. Le thème principal (avec sourdine) du mouvement lent soulève une interrogation: Mozart le connaissait-il? Le thème en pizzicato émane de la partie de basse, thématiquement plus intégrée aux parties de violon que dans les autres mouvements. Le dernier mouvement présente une écriture violonistique de texture davantage imitative.

extrait des notes rédigées par Clifford Bartlett © 1988
Français: Hypérion

Freundliche Unterhaltung ist auch der Tenor in der Beziehung zwischen den zwei Violinen in der 1754 komponierten Triosonate in B-Dur. Entweder wechseln sich die oberen Stimmen in freundlichem Dialog einander ab, oder sie bewegen sich gemeinsam in parallelen Terzen und Sechsten. Die schnellen Stimmungsänderungen, die den Sonaten für Tasteninstrument so eigen sind, kommen hier weniger vor. Das gedämpfte Hauptthema des langsamen Satzes reizt zur Spekulation, ob Mozart es gekannt haben mag. Das von der Bassstimme abgeleitete Pizzikatothema ist thematisch in den Violinstimmen enger integriert als in den anderen Sätzen. Im letzten Satz hört man die Violinstimmen häufiger verschränkt in imitativem Kontrapunkt.

aus dem Begleittext von Clifford Bartlett © 1988
Deutsch: Elke Hockings

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