Schumann - Cello Concerto Op. 129, Piano Trio # 1 Op. 63 - Jean-Guihen Queyras, Isabelle Faust, Alexander Melnikov, Freiburger Barockorchester, Pablo Heras-Casado - 2016 (FLAC, 24BIT – 96KHZ)

Schumann – Cello Concerto Op. 129, Piano Trio # 1 Op. 63 – Jean-Guihen Queyras, Isabelle Faust, Alexander Melnikov, Freiburger Barockorchester, Pablo Heras-Casado – 2016 (FLAC, 24BIT – 96KHZ)

Composer: Robert Schumann
Performer: Jean-Guihen Queyras – cello, Isabelle Faust – violin, Alexander Melnikov – piano
Orchestra: Freiburger Barockorchester – early music ensemble
Conductor: Pablo Heras-Casado
Audio CD
Number of Discs: 1 CD
Format: FLAC (tracks)
Bit Depth: 24bit / 96kHz
Number of channels: 2.0
Label: Harmonia Mundi
Size: 982.2 MB
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Server: rapidgator

Robert Schumann – Cello Concerto Op. 129, Piano Trio no.1 Op. 63

Robert Schumann (1810-1856)

Cello Concerto in A minor, Op. 129

01. I. Nicht zu schnell (10:41)
02. II. Langsam (4:04)
03. III. Sehr lebhaft (7:55)

Piano Trio No. 1 in D Minor, Op. 63

04. I. Mit Energie und Leidenschaft (12:29)
05. II. Lebhaft, Doch nicht zu rasch (4:56)
06. III. Langsam, mit inniger Empfindung (6:21)
07. IV. Mit Feuer (8:24)

This final instalment in our trilogy devoted to the complete concertos and trios of Schumann spotlights the cello of Jean-Guihen Queyras. The Cello Concerto, though energetically championed by Clara Schumann, suffered from delays in publication and was not premiered until after the composer’s death. Interpreted in the same poetic spirit as its two predecessors, this third volume concludes an adventure that has changed for ever the way we listen to Schumann.

“The idea for this CD project arose during a tour on which we performed Robert Schumann’s Trio Op.80. As passionate admirers of the composer, we conceived the desire to place his works for piano, violin and cello in a broader context and to illuminate them mutually in order to allow listeners to gain a deeper understanding of his music. We soon agreed to play the pieces for this recording on a historical piano and stringed instruments with gut strings, using orchestral forces to match. Thanks to this, we expected our playing to be better balanced, better articulated, and more open-minded. Pablo Heras-Casado and the Freiburger Barockorchester sprang spontaneously to mind as the ideal partners for a project of this kind. And indeed they took up our idea enthusiastically and were keen and irreplaceable fellow-conspirators in the world of Schumann. Our shared journey into the magical world of this incomparable composer will remain with us as an exceptionally intense, happy and fulfilling experience.” Isabelle Faust, Alexander Melnikov, Jean-Guihen Queyras.

BBC Music Magazine

Melnikov marshals the crystalline timbres of his 1847 Streicher fortepiano with panache and clarity without in any way sacrificing the urgency of the musical argument … Intimacy also lies at the heart of Jean Guihen Queyras’s interaction with the Freiburger Barokorchester.

Sunday Times

Queyras’s delicate tone, sensibility and technical bravura are ideal in the concerto, and he’s the perfect foil for the temperamental Isabelle Faust (violin) and Alexander Melnikov (piano) in the trio.

The Guardian

Queyras gives an intimately conversational account of the Cello Concerto, never turning it into a virtuoso vehicle for its own sake, and persuades the Freiburg Baroque Orchestra under Pablo Heras-Casado to give him equally gentle, refined support.

The Scotsman

the unforced robustness of Queyras’ solo playing [is] completely in tune with the orchestra’s visceral rawness. It takes a bit of getting used to, but ultimately draws out all that is manful and emotionally direct in the music…Where opulence is called for Faust, Queyras and Melnikov provide it in spades. This is a golden rich performance, with highly inventive textures, that avoids slipping into sentimentality.

The Strad

Queyras’ heroic traversal of the Cello Concerto’s enigmatic lyricism, on a 1696 Gioffredo Cappa with the attentive Freiburgers, should satisfy all who love this endearing score. But for me the high point of the trilogy as a whole is the D minor Trio, played with drive, devotion and acute attention to blended sonority. Hats off to all concerned.

The Herald (Glasgow)

an unqualified success, with some supremely-mature and sophisticated playing throughout the series elevating the project to must-have status for aficionados.

The Classical Reviewer

This is an absolutely terrific performance full of poetry, fire and passion.

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