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Epoka muzyczna: 20 wiek do 1960, romantyzm, współczesna
Obszar (język): czeski
Instrumenty: fortepian
Epoka muzyczna: 20 wiek do 1960, romantyzm, współczesna
Obszar (język): czeski
Instrumenty: fortepian
Martinu / Smetana / Eben: Czech Piano Trios
Hyperion - CDA 67730
Wykonawcy
The Florestan Trio
The Florestan Trio
Nagrody i rekomendacje
Utwory na płycie:
Smetana:
Piano Trio in G minor Op 15 1855
Martinu:
Piano Trio No 1 ‘Cinq pieces breves’ 1930
Eben:
Piano Trio 1986
Piano Trio in G minor Op 15 1855
Martinu:
Piano Trio No 1 ‘Cinq pieces breves’ 1930
Eben:
Piano Trio 1986
The Florestan Trio is one of Britian’s best-loved chamber groups, and its many Hyperion recordings are routinely
acclaimed as benchmark versions of the repertoire. After delighting listeners and critics with two discs of Dvorák, the
ensemble now further explores the Czech piano trio repertoire.
The three works on this CD cover the complete span of what is usually thought of as the Czech school of composition.
Smetana, regarded as the founding father, first showed the way to bring traditional dance and song into the mainstream
of European composition, forging a national style. Eben, who died in 2007, was one of the most distinguished
composers who carried this line to the present day. But, as these three contrasting pieces demonstrate, Czech composers
were subject to very different kinds of influence at different times. Smetana’s Piano Trio, an early work, shows more
influence from the mainstream giants of the time particularly Schumann and Liszt than it does from any ‘folk’
elements. By the time Martinuo wrote his first Piano Trio, he was immersed in the exciting cosmopolitan culture of
twentieth-century Paris. And Petr Eben took the neoclassicism of Martinuo and his contemporaries, and developed his
own individual approach to it.
acclaimed as benchmark versions of the repertoire. After delighting listeners and critics with two discs of Dvorák, the
ensemble now further explores the Czech piano trio repertoire.
The three works on this CD cover the complete span of what is usually thought of as the Czech school of composition.
Smetana, regarded as the founding father, first showed the way to bring traditional dance and song into the mainstream
of European composition, forging a national style. Eben, who died in 2007, was one of the most distinguished
composers who carried this line to the present day. But, as these three contrasting pieces demonstrate, Czech composers
were subject to very different kinds of influence at different times. Smetana’s Piano Trio, an early work, shows more
influence from the mainstream giants of the time particularly Schumann and Liszt than it does from any ‘folk’
elements. By the time Martinuo wrote his first Piano Trio, he was immersed in the exciting cosmopolitan culture of
twentieth-century Paris. And Petr Eben took the neoclassicism of Martinuo and his contemporaries, and developed his
own individual approach to it.
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