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Epoka muzyczna: 20 wiek do 1960, romantyzm
Obszar (język): angielski, francuski
Rodzaj: trio
Epoka muzyczna: 20 wiek do 1960, romantyzm
Obszar (język): angielski, francuski
Rodzaj: trio
Boulanger / Smyth / Chaminade: A Room of Her Own
Chandos - CHAN 20238
Wykonawcy
Neave Trio
Neave Trio
Utwory na płycie:
- Boulanger - Dun matin de printemps
- Boulanger - Dun matin de printemps
- Tailleferre - Trio - Tres anime - Accelerez - Tempo I
- Tailleferre - Trio - Tres anime - Accelerez - Tempo I
- Smyth - Trio - Allegro non troppo - Grandioso (breit) - Meno mosso
- Smyth - Trio - Allegro non troppo - Grandioso (breit) - Meno mosso
- Smyth - Trio - Der Mutte [sic] der Einfachkeit [sic]?! (The Courage of Simplicity?!).
- Smyth - Trio - Der Mutte [sic] der Einfachkeit [sic]?! (The Courage of Simplicity?!).
- Smyth - Trio - Scherzo. Presto con brio - Trio - Scherazo da capo - Coda
- Smyth - Trio - Scherzo. Presto con brio - Trio - Scherazo da capo - Coda
- Smyth - Trio - Finale. Allegro vivace
- Smyth - Trio - Finale. Allegro vivace
- Boulanger - Dun matin de printemps
- Boulanger - Dun soir triste
- Chaminade - Trio No.1 Op.11 - Allegro - Meno mosso - Tempo I - Poco meno mosso - Tempo I
- Chaminade - Trio No.1 Op.11 - Andante - Animo - Tempo I
- Chaminade - Trio No.1 Op.11 - Presto leggiero
- Boulanger - Dun soir triste
- Boulanger - Dun soir triste
- Chaminade - Trio No.1 Op.11 - Allegro molto agitato - Poco piu mosso
- Tailleferre - Trio - Allegro animato
- Tailleferre - Trio - Allegro vivace
- Tailleferre - Trio - Moderato
- Tailleferre - Trio - Tres anime - Accelerez - Tempo I
- Smyth - Trio - Allegro non troppo - Grandioso (breit) - Meno mosso
- Smyth - Trio - Der Mutte [sic] der Einfachkeit [sic]?! (The Courage of Simplicity?!).
- Smyth - Trio - Scherzo. Presto con brio - Trio - Scherazo da capo - Coda
- Smyth - Trio - Finale. Allegro vivace
- Chaminade - Trio No.1 Op.11 - Allegro - Meno mosso - Tempo I - Poco meno mosso - Tempo I
- Chaminade - Trio No.1 Op.11 - Allegro - Meno mosso - Tempo I - Poco meno mosso - Tempo I
- Chaminade - Trio No.1 Op.11 - Andante - Animo - Tempo I
- Chaminade - Trio No.1 Op.11 - Andante - Animo - Tempo I
- Chaminade - Trio No.1 Op.11 - Presto leggiero
- Chaminade - Trio No.1 Op.11 - Presto leggiero
- Chaminade - Trio No.1 Op.11 - Allegro molto agitato - Poco piu mosso
- Chaminade - Trio No.1 Op.11 - Allegro molto agitato - Poco piu mosso
- Tailleferre - Trio - Allegro animato
- Tailleferre - Trio - Allegro animato
- Tailleferre - Trio - Allegro vivace
- Tailleferre - Trio - Allegro vivace
- Tailleferre - Trio - Moderato
- Tailleferre - Trio - Moderato
Lili Boulanger:
D’un matin de printemps
D’un soir triste
Dame Ethel Smyth:
Piano Trio in D minor
Cecile Chaminade:
Piano Trio No. 1 in G minor, Op. 11
Germaine Tailleferre:
Piano Trio
D’un matin de printemps
D’un soir triste
Dame Ethel Smyth:
Piano Trio in D minor
Cecile Chaminade:
Piano Trio No. 1 in G minor, Op. 11
Germaine Tailleferre:
Piano Trio
In a follow-up to its extremely successful album Her Voice, the Neave Trio on A Room of Her Own once again champions the works of female composers. The only non-French composer on the album is Ethel Smyth whose Piano Trio, one of her earliest works, was composed in 1880. Like many of her works from this era, it shows a clear nod to the Austro-German influences of her studies in Leipzig, particularly of Brahms. Cécile Chaminade was born just a year before Smyth, and her First Piano Trio was written in the same year as Smyth’s. The Paris premiere was very well received by the critics, and the Trio was published a year later. Germaine Tailleferre’s Piano Trio began life in 1916 – 17 as a work in three movements, and then gathered dust for over sixty years, until a commission from France’s Ministere de la Culture, in 1978, enabled Tailleferre to revive and re-imagine it. By then in her mid-eighties, Tailleferre replaced the original second movement and added a fourth. The Trio is an excellent example of her compositional style – a voice that remained consistent though her long compositional career. Lili Boulanger’s D’un matin de printemps and D’un soir triste are perhaps now better known in their orchestral versions: this recording proves that the two pieces work equally well at either scale. As they are among the last compositions of her short life (she died of chronic illness at twenty-four), we are left to imagine what she might have written had she lived longer.