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HomeMusicClassicalGeneralDvorak: Piano Trios Nos. 1, Op. 21; & 3, Op. 65 ~ Chung Trio |
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| Collectible | |
| $16.16+ $4.49 *Shipping | Collectible
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2 of 2 found the following review helpful:
Two underplayed Dvorak piano trios are given a gorgeous outing Sep 22, 2010
By Santa Fe Listener
Decca is releasing a good deal of its back catalog, some of it only online. This pairing of two Dvorak piano trios dates from 1986, by which time violinist Kyung-Wha Chung was an established star for the label. Her brother Nyung-Whun was yet to emerge as a prominent conductor, but he was a mature musician of 36. the two dominate both works, and in particular the pianist, whose part is always the strongest in Dvork's piano trios (following Brahms's lead, one supposes). The great work here is the third piano trio Op. 65. It dates form 1883 and rivals or surpasses its famous cousin, the 'Dumky' Trio. Certainly it is more sweeping and profound. Urged to be less Czech and more German, Dvorak delivered a first movement worthy of Brahms in its strong, coherent development section and intense passion. But he was essentially a melodist, not to mention a Czech. After three movements that inhabit the world of Brahms's first piano trio, the finale is a furiant of the kind we know form his later symphonies.
The Piano Trio no. 1 dates from 1875, a breakout year for Dvorak since it gave us the String Serenade and Sym. no. 5, the former a ravishing display of melody, the latter his first symphony to gain wide recognition. Dvorak was slow to come to grips with the rigors of sonata form, and when he could he fell back on his natural gifts for melody, loose rhapsodic form, and a romantic expansive tone. The trio's first movement displays all three; it dances along, buoyed by the composer's confident lyric line. The Adagio is simple and wistful, like Chopin with the syncopation and harmonic tweaks smoothed out. Perhaps Dvorak was too quick to pair these two strong movements with the last two, which drop off in inspiration fairly sharply. But the Chung Trio are so adept in this idiom that their sympathetic playing does a lot to keep one form noticing.
In all, this is a lovely overlooked CD, in gorgeous, open sound that is true to all three instruments. I've heard more intense readings of Op. 65 but none as suavely beautiful.
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