Download e-book Piano Trio No. 1 in E-flat Major, Op. 1, No. 1 (Piano Score)

Free download. Book file PDF easily for everyone and every device. You can download and read online Piano Trio No. 1 in E-flat Major, Op. 1, No. 1 (Piano Score) file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Piano Trio No. 1 in E-flat Major, Op. 1, No. 1 (Piano Score) book. Happy reading Piano Trio No. 1 in E-flat Major, Op. 1, No. 1 (Piano Score) Bookeveryone. Download file Free Book PDF Piano Trio No. 1 in E-flat Major, Op. 1, No. 1 (Piano Score) at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Piano Trio No. 1 in E-flat Major, Op. 1, No. 1 (Piano Score) Pocket Guide.
Piano Trio in E-flat major, op. 1, no. 1
Contents:
  1. Franz Schubert
  2. Piano Trio No. 1 in E-flat Major, Opus 1, No. 1: Chamber Trio Book: Ludwig van Beethoven
  3. Hyperion Records
  4. Browse Products
  5. Stay in Touch

Editing: re-sampled to dpi, converted to black and white tif files, de-skewed, and set uniform margins.

Franz Schubert

Editor Carl Herrmann Ferdinand David Leipzig: C. Peters , No. Plate Editor Max Unger Leipzig: Ernst Eulenburg , No.

Dvořák piano trio no. 1 op. 21 in B flat major

Plate E. Arranger Carl Burchard Magdeburg: Heinrichshofen , n. Plate H. Arranger Wilhelm Altmann New York: International Music Company , Arranger Friedrich Schneider Arranger Hugo Ulrich Robert Wittmann ? Peters , n. Arranger Louis Winkler — Arranger Friedrich Hermann III no. Possible uses for this movememt. Klaviertrio op.


  1. History:CSG Standard/Beethoven - MusicBrainz Wiki;
  2. Navigation menu.
  3. Céli Dé in Ireland: Monastic Writing and Identity in the Early Middle Ages (Studies in Celtic History)?
  4. Processing.

BNF : As a group, they have taken top prizes in many prestigious competitions, performed on several continents, and released two CDs of trios by Brahms, Ravel, Ives, and Shostakovich. The Beethoven was a model of classical elegance and restraint; phrasing, articulation and dynamics were carefully observed, balance and interplay between the instruments were exemplary.

In the Shostakovich, the players allowed themselves more dynamic and emotional abandon without lapsing into excess; the Scherzo was very fast and impetuous but always controlled; the slow movement was heart-breaking. The Mendelssohn was unabashedly romantic: quite free, intense, and ardent.

Piano Trio No. 1 in E-flat Major, Opus 1, No. 1: Chamber Trio Book: Ludwig van Beethoven

The corner movements were stormy and passionate, the Scherzo was spooky but almost too fast and whispery for human ears to follow, the slow movement was serene and poetic. The phrasing sometimes seemed a bit overdone and lopsided, and there was perhaps an over-abundance of slides. But the playing was always honestly felt and very expressive. Best of all, the players were concerned only with the music, and used their technical command and tonal variety entirely in its service.

They did nothing for effect, never exaggerated, never called attention to themselves, never showed off. Moreover, except for the most massive chords, she kept her left foot on the soft pedal, even in her solo passages, so there was no break in the sound quality.

As a result, the piano, though wide open, never covered the strings; indeed, it was often too subdued. Altogether, this was a most enjoyable evening of true, unaffected music-making.

Though the printed program requested that the applause be held until after the final movement of each work, the sell-out audience could not restrain itself and showed its enthusiasm after every movement, causing the players to look startled at first, then to smile with amused resignation. To remove the temptation for an outburst after the ghostly Mendelssohn Scherzo, they plunged right into the last movement.

The San Diego Union-Tribune:. American Record Guide:.

Hyperion Records

They turn in a crisp, fresh, vigorous, moving rendering of the Op. The players tackle the first two movements with great intensity and concentration. The third, slow movement is firm and eloquent, without a touch of hurry or carelessness in phrasing — and yet it does not sound studied or over-rehearsed.

There is an admirable balance between confidence, polished technique, and impulsive, romantic ardor in this performance. These players Hsiu-Hui Wang, piano; Sheng-Tsung Wang, violin; Benjamin Myers, cello bring a verve and commitment to the Ives that makes the piece almost tolerable — enough to listen to more than once.

Recorded sound is excellent: clear, firm, rich, and vibrant. If the Gemini Trio passes through your locale, take them in by all means. And buy one of their discs. Music Monthly:.

Browse Products

They take any spare moments in a particular piece to make eye contact with one another while keeping the music flowing as a collective work, rather than a dispersed combination of severe talents. Frequently the performers would smile at one another in a jubilating gesture that seemed to indicate a love for the music as well as the performance. World Journal Chinese Edition :. Washington Chinese News:. Gemini Trio: Music from a Functional Family.

The Gemini Piano Trio from Baltimore is a true family affair. Meyers have been performing together for nine years — and it shows. They play with the zest and elan of youth, but with the outstanding balance of long-time experience.

Stay in Touch

Newman Artists Series and the ArtsCenter of Carrboro, they presented a program that sampled the Classical, the Romantic and lateth century music. The strong dynamic contrasts, the expanded harmonic language, the use of the cello as an equal partner, the substitution of the standard minuet and trio with the scherzo, as well as the fact that it was the first chamber work with piano to have a fourth movement — these were totally new to audiences and critics alike.

With impeccable balance, the Gemini Trio brought out the assertiveness of the young composer in the Trio in E-flat, Op. Nevertheless, he can be appropriately romantic in places, especially in the slow movement, adagio cantabile, but he could fiddle away with zest in the peasant stomp of the scherzo. Hsiu-Hui kept her piano dynamics under control and never drowned out the melody-carrying instrument — a major accomplishment in Hill Hall. Beethoven was followed by a piece of French fluff in the form of the Piano Trio by Jean Francaix, a work that sounds like Poulenc and water.

The witty movement brings to mind three men arguing around a bottle of wine; the rest of the work brings little to mind.