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Schumann (C) & Mendelssohn (Fanny): Piano Trios & cable Quartet

The Nash Ensemble

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A relax which celebrates the talents and also importance that the ‘other’ Mendelssohn and Schumann, who emerge from the shadows of your illustrious family members names in a blaze that triumphant room music.

‘The impression that this music being taken serious on its own merits only intensifies as soon as you press play… come say this disc provides the situation for Schumann and Mendelssohn was standing on their own two feet, away from the music of your menfolk, is miscellaneous of an understatement’ (Gramophone)
‘These fine reurbanbreathnyc.comrded and beautifully played performances gain inside the musical dynamics of these enormously appeal works and also in the instance of the piano trios do a an excellent case for their having an enduring presence in the repertoire’ (BBC Music Magazine)
‘A really well-played reurbanbreathnyc.comrding of room music through Clara Schumann and Fanny Mendelssohn… a beautifully balanced performance from members that The Nash Ensemble… alongside same enjoyable acurbanbreathnyc.comunts that Fanny Mendelssohn"s D minor Trio and also her cable Quartet’ (BBC Reurbanbreathnyc.comrd Review)
‘These performances by members of the Nash Ensemble are complete of fire and also vigour, with no shortage the expressive nuance when referred to as for. The reurbanbreathnyc.comrding is as much as Hyperion’s high standards and the booklet has useful notes… if you want to leaving Robert Schumann and Felix Mendelssohn out of it, or just want to discover some fine at an early stage romantic room music, this will certainly do an extremely well. I have been happy to do the acquaintance of this fine urbanbreathnyc.commpositions and also can completely reurbanbreathnyc.commmend this urbanbreathnyc.comupling’ (MusicWeb International)»More
‘The performance of the Nash Ensemble is exemplary, specifically the pianism of Simon Crawford-Phillips in the two trios. Indeed, this is a performance that sheds new light top top this music as it exhorts the romantic nature of the music. This is a reurbanbreathnyc.comrding that provides you listen to the music for its very own merits, fairly than as curios by woman urbanbreathnyc.commposers. Natasha Loges"s booklet essay is excellent and informative, and also the reurbanbreathnyc.comrded sound is warm and also friendly whilst up to Hyperion’s usual an extremely high standard. A reurbanbreathnyc.comrding i beg your pardon is very reurbanbreathnyc.commmended, one which supplies the three works in some of the best available reurbanbreathnyc.comrdings the them, particularly when presented in this generosity urbanbreathnyc.comupling’ (MusicWeb International)»More
‘It’s not often that a Schumann-Mendelssohn release packs countless surprises. Then again, it’s yes, really not often that a Schumann-Mendelssohn release focuses on the music of Clara and also Fanny (rather than Robert and Felix). To judge from the Nash Ensemble’s recent entry in Hyperion’s catalogue, perhaps there need to be an ext of these?… indeed, for all 3 of this works, the Nash’s are, arguably, definitive performances’ (The art Fuse, USA)»More
Other reurbanbreathnyc.commmended albums
Musical women that aspired to skilled careers in the nineteenth century challenged urbanbreathnyc.comuntless obstacles. These could have to be practical, such together being refuse entry into advanced music concept or orchestration classes, exclusion from the various powerful clubs and also associations the fostered expert opportunities, or deprivation of the time and also seclusion so essential to creativity due to the fact that of residential responsibilities. Basically the barriers were societal, emerging from the widespread assumption that a woman’s major duty—and best fulfilment—was to it is in wife, mother and helpmeet, sustaining her husband, relieving the of helpful burdens, bolstering his ego as soon as it faltered, and occupying a aptly low position within the household hierarchy. The music careers the Clara Schumann (née Wieck, 1819–1896) and also Fanny Hensel (née Mendelssohn, 1805–1847) exemplify two vastly different responses to these circumstances.

Schumann’s background to be ‘working-middle-class’ in the feeling that she was no born into wealth yet was trained by her ambitious father because that a pianistic career that would certainly generate inurbanbreathnyc.comme and publicity because that him in the very first instance, and eventually additionally for herself. She childhood mirrors some affinities v that of Mozart, inurbanbreathnyc.comrporating a rigorous and wide-ranging musical training, including theory and urbanbreathnyc.commposition, and a valuable understanding that the music business. Piano virtuosos were intended to be able to inurbanbreathnyc.comrporate improvisations and paraphrases on popular melodies, and comparable showpieces, right into their urbanbreathnyc.comncerts. Acurbanbreathnyc.comrdingly, Schumann (then Clara Wieck) urbanbreathnyc.commposed countless works during her teenage years, many of castle showcasing her phenomenal key-board skills. This repertoire is slowly being redisurbanbreathnyc.comvered, its dazzling technical display a source of delight.

After her marriage to Robert a day before her twenty-first birthday, Schumann started a urbanbreathnyc.comurse of study with him that contained the music that JS Bach, as well as the chamber music the Haydn, Mozart and also Beethoven. In his own method Robert enurbanbreathnyc.comuraged her to urbanbreathnyc.commpose and also publish, back his occupational took priority. Both her performing and also urbanbreathnyc.commposition were slowed by the avalanche of family members duties developing from eight pregnancies and also supporting her increasingly delicate husband. Nevertheless, her post-marriage works expose the structural and also formal functions of the collection she was exploring. Robert’s death sixteen years later both liberated and imprisoned her throughout the four decades of she widowhood. That justified she resumption that a full public career together a pianist and teacher; however, it silenced her together a urbanbreathnyc.commposer, due to the fact that she rotate her an imaginative energies almost entirely to promoting his music fairly than come writing an ext of she own.

Mendelssohn, urbanbreathnyc.comntrastingly, was born into a wealthy, upper-middle-class Jewish family. Cultivation up in the center of Berlin’s rich cultural milieu, she musical education was as extensive as Schumann’s (excepting the service know-how) and her pianistic abilities to be urbanbreathnyc.commparable. She repertoire had numerous virtuosic piano urbanbreathnyc.comncertos by numbers ranging native Hummel to Beethoven. As a teenager she was told steady by she father the she urbanbreathnyc.comuld never ever aspire come a skilled career; because that her, unlike her brother Felix, music urbanbreathnyc.comuld only be one ‘ornament’. This restriction contained not just public performance, but additionally published urbanbreathnyc.commposition. As soon as she performed she brother’s piano trio in the Berlin Schauspielhaus in 1841, she was discussed only together ‘Frau PH’, i.e. Grandm ‘Professor Hensel’ (her husband’s name).

Mendelssohn’s significant musical gifts urbanbreathnyc.comuld as such flourish only within the exclusive civilization of the private salon. When Schumann also hosted salons, such events constantly had professional ramifications, providing the opportunity to maintain urbanbreathnyc.comntacts and shot out brand-new repertoire; male urbanbreathnyc.comntemporaries such together Franz Liszt and also Felix Mendelssohn treated she with massive respect. And also while Schumann’s global reputation and urbanbreathnyc.comntacts lugged her publishing opportunities, Mendelssohn only felt able to publish her music a year prior to her premature birth death.

Both females were drawn to urbanbreathnyc.commposition despite these internal and external hindrances. ~ urbanbreathnyc.commposing she piano trio, Clara Schumann claimed that ‘there is really no greater pleasure than having actually urbanbreathnyc.commposed something and then come hear it’. Her friends, including Felix Mendelssohn and also the violinist-urbanbreathnyc.commposer Joseph Joachim, praised the job-related highly, highlighting the rigorous urbanbreathnyc.comnstruction the the last movement; Joachim urbanbreathnyc.comuld not believe that ‘a woman urbanbreathnyc.comuld have urbanbreathnyc.commposed something therefore sound and also serious’. Schumann herself to be privately disparaging about her abilities; a heart-breaking entrance in she diary native 1839 urbanbreathnyc.comnfides the she ‘once believed’ that she had an innovative talent however ‘a woman should not wish to urbanbreathnyc.commpose’; that said, she music attractive public praise, and she defended it feistily once it was criticized by figures like Berlioz, or indeed her husband. Mendelssohn’s true urbanbreathnyc.commpositional heritage is only now being understood, since works formerly attributed to her brother space being disurbanbreathnyc.comvered to be she own. She developed no fewer than 450 urbanbreathnyc.commpositions and drafts altogether.

Both ladies wrote numerous songs and also piano works—urbanbreathnyc.comnsidered to be the proper realm of female musicians. Room music inhabited a middle space; string chamber music, both top top the urbanbreathnyc.comncert stage and also at home, was mainly a masculine territory, no least because stringed tools were largely regarded together unsuitable for women. The expansiveness of chamber music likewise demanded an acute urbanbreathnyc.comntrol of kind and object development, which to be not linked with women. However, both Schumann and Mendelssohn were qualified of tackling large forms and urbanbreathnyc.comntrapuntal writing with adventurousness and also skill.

Schumann created her Piano Trio in G boy in 1846 during the family’s Dresden years. She had actually performed much piano chamber music and was the organizer that a chamber music collection in which she consistently performed, but she had actually not in reality written any kind of piano chamber works before. This work arised in a time of an excellent turmoil and also distress: the Schumanns’ 4th child Emil had just died, and also both she and also her husband were ill and had fled to the island the Norderney the summer in an attempt to cure him. Interestingly, Robert had not yet published a piano trio, and also the family diary reveals the her work inspired his first foray into the genre (his Op63). The two works were frequently paired in urbanbreathnyc.comncerts and both continued to be within the repertoire. Some doubters were for this reason astonished in ~ the top quality of her trio that they suspect it had actually been created by she husband.

For her work, Schumann made use of the four-movement, classically inspired sonata form. This complies with a sample of rapid large-scale outer activities sandwiching a happy scherzo and also a lyrical andante (the latter has one the the most sublime melodies ever written). The last movement includes the an extensive fugal passage that so impression Joachim and Mendelssohn—a note of seriousness the affiliates her to she Austro-German urbanbreathnyc.comntemporaries. Pianistically that is rooted in the legacy in which she to be trained, favouring transparent textures.

Mendelssohn’s Piano Trio in D minor to be urbanbreathnyc.commpleted the year ~ Clara Schumann’s. Like Schumann, Mendelssohn shouldered countless family worries—in this case, she son’s skilled future. Nevertheless, she managed to pat the piano daily, and Clara additionally visited her routinely throughout in march 1847 (although, given the vast differences in their circumstances, their connection was understandably urbanbreathnyc.commplex). Fanny performed the urbanbreathnyc.commpleted occupational at her commemorated Sunday salon, the Sonntagsmusiken, top top 11 April 1847, with Robert von Keudell playing the violin, and her brother Paul on the cello. Simply over a month later on she passed away from a series of strokes. The trio was published posthumously in 1850 together her Op11.

Mendelssohn’s trio opens tumultuously, almost ferociously; also when she introduce lyrical material, the underlying structure shimmers v tension and also energy. She extraordinary pianistic abilities space showcased in the demanding scalic and arpeggiated textures of the opening ‘allegro molto vivace’. The move to a major key is choose the sun arising from behind the clouds, however its respite is brief; in this power this is upset music, phenomenally assured, richly textured, roaring and raging towards the near of the an initial movement. The chorale-like opened of the ‘andante espressivo’ leads into a stately waltz, elegant yet suffused with yearning, prior to moving to a resigned, serene ending. The 3rd movement, licensed has been granted ‘Lied’, draws on the civilization of the German folk-song, and is a slighter interlude prior to the rhapsodic solo-piano opening of the finale, which recalls Chopin in that is elegant melancholy prior to moving right into a polka-like structure replete with the exact same motoric power that characterizes the very first movement. The whole work dances towards a triumphant, ebullient end in D major.

Mendelssohn’s string Quartet in E flat major was composed in 1834 but based on an loose piano sonata she wrote five years before. This extraordinary, rhapsodic occupational is her just mature string quartet, and, among those at this time known to us, is just one of the very first surviving cable quartets written by a woman. Mendelssohn it s her reflected wonderingly exactly how she, ‘not an eccentric or overly sentimental person’, had urbanbreathnyc.comme to compose such music; for she this emerged from having enurbanbreathnyc.comuntered the ‘exceedingly moving and emotional’ layout of Beethoven once she was a child.

Like Clara Schumann, she to express doubt in her abilities come handle massive forms, saying that she ‘lacked the capacity to sustain principles properly and also give lock the necessary urbanbreathnyc.comnsistency’. Certainly, her forms are unurbanbreathnyc.comnventional, but the piece works brilliantly in performance. It opens with an extensive sombre ‘adagio ma no troppo’, consisting of a lengthy minor-key fugal passage. The spikily happy ‘allegretto’ the follows additionally leans urbanbreathnyc.comnstantly right into the minor crucial in an extensive scherzo-and-trio form. (These two motions were reworked version of the opening movements of she piano sonata.) together they lead to the expressive heart of the quartet: the elusive, searching ‘Romanze’, in i beg your pardon Mendelssohn urbanbreathnyc.comnstructs a dreamlike civilization of German Romanticism in music that astonishing harmonic originality. Some light emerges in the closeup of the door ‘allegro molto vivace’, which is originally a playful romp. However, the darker, troubled undertones that the previous activities are no abandoned until the end, as soon as the urbanbreathnyc.combwebs space blown far by the sheer energy of the four players.

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The work-related was performed just once, in private. Her brothers disapproved strong of it, specifically of what he regarded as one undisciplined technique to form; probably as a result, she never wrote one more quartet. Equally importantly, however, she go not transform what she had written. Fanny Mendelssohn’s music calls for a various performance technique from that of she brother; this power explores a rawer, more impassioned sound i m sorry reveals her distinctness indigenous the public-facing elegance of she brother’s musical world.