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Track(s) taken from CDA67719

Piano Trio in G major 'Gypsy Rondo', Hob XV:25

1795; No 39; dedicated to Rebecca Schroeter

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: 13 minutes 36 seconds

Cover artwork: The Gypsy Tent by William Shayer (1811-1892)
© Wolverhampton Art Gallery / Bridgeman Art Library, London

Other recordings available for download

London Fortepiano Trio


'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' (Classics Today)

'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' (Classical Source)
In H C Robbins Landon’s majestic series of volumes on Haydn, there is an engraving of a parade in the courtyard of Eszterháza Castle, celebrating the installation of Prince Anton Esterházy as Governor of the County of Oedenburg, on 3 August 1791. Prominently featured is a group of gypsy musicians, with their violins low on their chests in traditional style. Haydn spent most of his working life at Eszterháza, which was in Hungary, and he would regularly have heard gypsy and Hungarian folk music. He often brought touches of it into his own works, and the Piano Trio in G major Hob XV:25 is the most famous example. Its finale incorporates a number of gypsy tunes, including ‘Recruiting Dances’ (verbunkos). Austrian army officials used to engage groups of gypsy musicians to attract peasants to the recruiting posts with dance-tunes, and Haydn was one of the first composers to weave these into his music. He wrote this trio during the final weeks of his second visit to England in 1795, and its first edition was a great success. The effect of this finale is made all the more striking because it follows two very gentle movements. The first is a set of variations which alternate between major and minor (one of Haydn’s favourite procedures). The second movement is a Poco adagio with, in its central section, a particularly lovely melody for the violin. The cellist Pablo Casals used to take over the repeat of this melody from the violin—a delightful alteration that would not be allowed today.

from notes by Robert Philip © 2009

Dans les somptueux volumes de H. C. Robbins Landon consacrés à Haydn, une gravure représente une parade organisée dans la cour du château d’Eszterháza pour célébrer l’installation du prince Anton Esterházy au poste de gouverneur du comté d’Oedenburg, le 3 août 1791. Bien en vue, des musiciens tziganes portent leur violon dans le style traditionnel, en position basse sur leur poitrine. Tout au long de sa carrière passée presque exclusivement à Eszterháza, en Hongrie, Haydn entendit de la musique folklorique tzigane et hongroise, dont il émailla souvent ses œuvres, la plus célèbre étant le Trio avec piano en sol majeur Hob XV:25. Son finale intègre plusieurs airs tziganes, notamment des verbunkos, ces «danses de recrutement» que jouaient des musiciens tziganes engagés par les représentants de l’armée autrichienne pour attirer les paysans vers les postes de recrutement et que Haydn fut parmi les premiers à insérer dans sa musique. La première édition de ce trio écrit dans les dernières semaines de son second séjour anglais (1795) remporta un vif succès. L’effet du finale est d’autant plus saisissant qu’il survient après deux mouvements très doux. Le premier est une série de variations alternant entre majeur et mineur (l’un des tours favoris de Haydn). Le second est un Poco adagio qui, en sa section centrale, offre au violon une mélodie particulièrement charmante. Le violoncelliste Pablo Casals avait pour habitude de la répéter à la suite du violon—une savoureuse modification qu’on n’admettrait plus aujourd’hui.

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

In H. C. Robbins Landons ansehnlichen Bänden über Haydn findet sich ein Stich, der eine Parade auf dem Hof des Schlosses Eszterháza darstellt, in der die Einsetzung von Fürst Anton Esterházy als Majoratsherr des Ödenburgerlands am 3. August 1791 gefeiert wird. In prominenter Position befindet sich eine Gruppe von Zigeunermusikern mit ihren Geigen im traditionellen Stil auf die Brust gesetzt. Haydn verbrachte die meiste Zeit seines Arbeitslebens in Eszterháza in Ungarn und hörte wohl regelmäßig ungarische und Zigeunermusik. Er brachte oft Anklänge daran in seine eigenen Werke ein; das Klaviertrio in G-Dur Hob XV:25 ist das berühmteste Beispiel dafür. Sein Finale integriert eine Anzahl von Zigeunerweisen einschließlich militärischer „Werbungstänze“ (Verbunkos). Österreichische Armeeoffiziere engagierten damals Gruppen von Zigeunermusikern, um Landleute mit ihren Tanzmelodien zu Rekrutierungsposten zu locken, und Haydn war einer der ersten Komponisten, die sie in ihre Musik einwoben. Er schrieb dieses Trio während der letzten Wochen seines zweiten Englandbesuchs 1795, und die Erstausgabe war ein großer Erfolg. Der Effekt dieses Finales ist umso erstaunlicher, als es zwei ganz zarten Sätzen folgt. Der erste ist eine Folge von Variationen, die zwischen Dur und Moll abwechseln (eines von Haydns Lieblingsmitteln). Der zweite Satz ist ein Poco adagio mit einer besonders anmutigen Melodie für die Violine im Mittelabschnitt. Der Cellist Pablo Casals übernahm in der Wiederholung gewöhnlich diese Melodie an Stelle der Violine—eine bezaubernde Änderung, die heute nicht erlaubt wäre.

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

Other albums featuring this work

Haydn: Piano Trios Nos 38-40
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