Arensky: Piano Trios Nos 1 & 2
Chandos - CHAN 10184X
Kompozytor
Anton Arensky (1861-1906)
Anton Arensky (1861-1906)
Wykonawcy
Borodin Trio
Borodin Trio
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Piano Trio No. 1, Op.32
Piano Trio No. 2, Op.73
Piano Trio No. 2, Op.73
Piano Trio No. 1 Although Anton Arensky studied for a time under Rimsky-Korsakov at the St Petersburg Conservatory, his musical affiliation seems closer to Tchaikovsky, and it was to the Moscow Conservatory – where Tchaikovsky’s eclectic approach to music to some extent balanced the nationalistic school of ‘The Mighty Handful’, including RimskyKorsakov – that Arensky went as a teacher of theory and composition after having gained the Gold Medal in St Petersburg. His own most important student was Rachmaninov.
Arensky wrote three operas, two symphonies, a piano concerto, incidental music to a production of Shakespeare’s The Tempest and a number of choral and chamber works, including two trios for piano, violin and cello. The first of these, in D minor, was published in 1894, the year in which Balakirev, founder of the ‘Mighty Handful’, suggested Arensky as his successor as Director of Music at the St Petersburg Imperial Chapel. The trio was inspired by Karl Davidov who had died five years earlier. Davidov, a cello virtuoso, founded the Russian school of cello playing, and the trio bears posthumous testimony to his work at the St Petersburg Conservatory which he joined in 1863 and where he served as Director from 1876 until 1886.
The first movement is built around three themes, the first dramatic, the second lyrical and the third impetuous. It is followed by a playful Scherzo which provides a natural continuance to the thoughtful coda of the previous movement and contains an example of what became known as the ‘Arensky Waltz’. The movement is a scherzo more in character than in form, and the waltz appears as the central trio, offering full-blooded contrast to the lighter mood of the main sections, themselves tinged with Mendelssohnian delicacy, spiced with pizzicato passages.
The Elegia also has a central section, its texture a light contrast to the preceding conversation between the violin and muted cello. The piano, which provides a dark-hued dotted backing to the dialogue of the strings, relaxes in the central section where it takes pride of place. The Finale is a dramatic rondo with two ideas, the first strong and vigorous, the second gentler and given to the two string instruments. In an Andante episode the central part of the Elegia is recalled, and the first theme of the first movement returns at the end to bring a sense of unity to the work. © Denby Richards
Piano Trio No. 2 While the Piano Trio No. 1 in D minor is perhaps Arensky’s best-known chamber work, the Piano Trio No. 2 in F minor remains virtually unknown. Composed in 1905, a year before the composer’s death, the second trio is less abrupt and more expansive than the first, almost symphonic in its dimensions.
The first movement is in straightforward sonata form with two contrasting themes. The piano opens alone, the unison strings later joining in with a countermelody. The roles are then reversed, the strings playing the theme while the piano soon after takes up the countermelody. The second theme, which follows, is much more lyrical than the first, with the piano accompanying the strings. The short coda is loud and fast, strikingly different from the rest of the movement.
After a brief introduction, the secondmovement Romance begins with a piano solo in the style of a nocturne by Chopin. The melody is taken over by the strings, and the piano and strings work together throughout the movement to weave a beautiful melodic tapestry.
In the virtuosic third-movement Scherzo the strings play with spiccato (bouncing bow) and pizzicato effects. There are rippling arpeggios in the piano, and at times it almost sounds as if these are played pizzicato, too. The elegant contrasting trio opens with a slower, lyrical solo for the cello, the violin and cello later playing in unison; the piano has an accompanying role throughout.
The finale is a Tema con variazioni. The block-chordal theme, with interesting harmonic twists, is introduced by the piano alone. The first variation is a flowing, songlike melody in the strings, accompanied by arpeggios in the piano. In the second variation the piano takes centre stage with a lively display, accompanied by pizzicato strings. The third variation is waltz-like, with a fluttering accompaniment. Virtuoso runs are featured in the lively, agitated fourth variation. The fifth is an ornamented waltz played rubato, first by solo piano, then by cello with piano accompaniment, and at last by violin and piano. The sixth and final variation, played bravura, is characterised by wide-ranging melodies. The return of the first movement’s opening theme leads to a quiet ending. © Borodin Trio
The Borodin Trio was formed after its members emigrated from the Soviet Union in 1976, since when they have played in all the major cities of Europe and America, as well as making a tour of Australia. Rostislav Dubinsky founded the legendary Borodin Quartet and served as its first violinist for thirty years. His wife, Luba Edlina, is best known for her brilliant performances and recordings as a pianist with the Borodin Quartet. The cellist Yuli Turovsky gave many acclaimed performances as soloist with the Moscow Chamber Orchestra before emigrating to Montreal. He is the founding Music Director and conductor of I Musici de Montréal.
Layer Marney Church, Essex June 1986
Arensky wrote three operas, two symphonies, a piano concerto, incidental music to a production of Shakespeare’s The Tempest and a number of choral and chamber works, including two trios for piano, violin and cello. The first of these, in D minor, was published in 1894, the year in which Balakirev, founder of the ‘Mighty Handful’, suggested Arensky as his successor as Director of Music at the St Petersburg Imperial Chapel. The trio was inspired by Karl Davidov who had died five years earlier. Davidov, a cello virtuoso, founded the Russian school of cello playing, and the trio bears posthumous testimony to his work at the St Petersburg Conservatory which he joined in 1863 and where he served as Director from 1876 until 1886.
The first movement is built around three themes, the first dramatic, the second lyrical and the third impetuous. It is followed by a playful Scherzo which provides a natural continuance to the thoughtful coda of the previous movement and contains an example of what became known as the ‘Arensky Waltz’. The movement is a scherzo more in character than in form, and the waltz appears as the central trio, offering full-blooded contrast to the lighter mood of the main sections, themselves tinged with Mendelssohnian delicacy, spiced with pizzicato passages.
The Elegia also has a central section, its texture a light contrast to the preceding conversation between the violin and muted cello. The piano, which provides a dark-hued dotted backing to the dialogue of the strings, relaxes in the central section where it takes pride of place. The Finale is a dramatic rondo with two ideas, the first strong and vigorous, the second gentler and given to the two string instruments. In an Andante episode the central part of the Elegia is recalled, and the first theme of the first movement returns at the end to bring a sense of unity to the work. © Denby Richards
Piano Trio No. 2 While the Piano Trio No. 1 in D minor is perhaps Arensky’s best-known chamber work, the Piano Trio No. 2 in F minor remains virtually unknown. Composed in 1905, a year before the composer’s death, the second trio is less abrupt and more expansive than the first, almost symphonic in its dimensions.
The first movement is in straightforward sonata form with two contrasting themes. The piano opens alone, the unison strings later joining in with a countermelody. The roles are then reversed, the strings playing the theme while the piano soon after takes up the countermelody. The second theme, which follows, is much more lyrical than the first, with the piano accompanying the strings. The short coda is loud and fast, strikingly different from the rest of the movement.
After a brief introduction, the secondmovement Romance begins with a piano solo in the style of a nocturne by Chopin. The melody is taken over by the strings, and the piano and strings work together throughout the movement to weave a beautiful melodic tapestry.
In the virtuosic third-movement Scherzo the strings play with spiccato (bouncing bow) and pizzicato effects. There are rippling arpeggios in the piano, and at times it almost sounds as if these are played pizzicato, too. The elegant contrasting trio opens with a slower, lyrical solo for the cello, the violin and cello later playing in unison; the piano has an accompanying role throughout.
The finale is a Tema con variazioni. The block-chordal theme, with interesting harmonic twists, is introduced by the piano alone. The first variation is a flowing, songlike melody in the strings, accompanied by arpeggios in the piano. In the second variation the piano takes centre stage with a lively display, accompanied by pizzicato strings. The third variation is waltz-like, with a fluttering accompaniment. Virtuoso runs are featured in the lively, agitated fourth variation. The fifth is an ornamented waltz played rubato, first by solo piano, then by cello with piano accompaniment, and at last by violin and piano. The sixth and final variation, played bravura, is characterised by wide-ranging melodies. The return of the first movement’s opening theme leads to a quiet ending. © Borodin Trio
The Borodin Trio was formed after its members emigrated from the Soviet Union in 1976, since when they have played in all the major cities of Europe and America, as well as making a tour of Australia. Rostislav Dubinsky founded the legendary Borodin Quartet and served as its first violinist for thirty years. His wife, Luba Edlina, is best known for her brilliant performances and recordings as a pianist with the Borodin Quartet. The cellist Yuli Turovsky gave many acclaimed performances as soloist with the Moscow Chamber Orchestra before emigrating to Montreal. He is the founding Music Director and conductor of I Musici de Montréal.
Layer Marney Church, Essex June 1986
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