This profound, yet still often light-hearted, E flat Trio was written in the same month (November) that Schubert completed Winterreise. We are instantly reminded of this in the Florestan's eloquent and aptly paced account of the C minor Andante con moto, with what Richard Wigmore describes as its 'stoical trudging gait'.
Even if one always has doubts about Simon Rattle conducting Mahler - doubts about his sincerity and his seriousness - even if one has always questioned his radically wrong tempos in the Second and Fourth and his amazingly uncomprehending interpretations of the Sixth and Seventh - one has to admit that Rattle has over time gradually been getting better at recording Mahler.
Dvorák's popular Piano Quartet No. 2 in E flat major, Op. 87, and Piano Quintet No. 2 in A major, Op. 81, have received numerous performances by Czech ensembles, as well as plenty of foreigners who have attained fluency in the received Czech style (or not). This fine release by Britain's Schubert Ensemble takes the step of defining a non-Czech way of playing Dvorák, with fresh and persuasive results. The players are circumspect and precise in the classic British style, but what they do is bold: they reduce the emphasis on the Czech rhythms in the music, turning them into accents rather than structural determinants.
Jubilee Concert: 100 Years of Berliner Philharmoniker, April 30th, 1982
The performance itself ? Nothing short of revelatory. You are not likely to see or hear a reading of the tragic slow movement which digs as deeply as this one. Karajan and his orchestra present a very profound experience ; the visual aspect of the performance helps us to see the emotion being poured into this sublime movement, and the intense response from the players. The first movement doesn't exactly ignite initially, but it soon gathers steam, and the Karajan charisma settles in for a coda which blazes its way to the final chords. The third and fourth movements are beautifully played, too. - from Amazon.com
The recording of the Fourth Symphony is one of the finest ever made in Berlin's Jesus-Christus Kirche, the church's clear but spacious acoustic allowing the Berlin playing to be heard in all its multicoloured, multi-dimensional splendour… Richard Osborne; Gramophone
Angela Hewitt is rapidly establishing herself as one of the great pianists of our age, her concert career expanding as rapidly as her discography, so it seems only right that, following her success in tackling one of the pillars of classical music in Bach, she should tackle another in Beethoven. This volume commences a survey of Beethoven sonatas which will couple the well known, in this case the ‘Appassionata’, with the comparatively neglected, here the grandest of Beethoven’s early sonatas, his Op 7. The disc is completed with a superb performance of Op 10/3, one of the early sonatas where Beethoven can be seen breaking the bounds of convention to create the style which would define the great works of his middle period.
Ludwig van Beethoven (baptized 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best known compositions include 9 symphonies, 5 concertos for piano, 32 piano sonatas, and 16 string quartets. He also composed other chamber music, choral works (including the celebrated Missa Solemnis), and songs..