Amazing how they make everyone else sound boring and amateurish even though they are definitely not! That's how incredible these guys are. And the loss of Lynn Harrel is beyond lamentable.
This trio rivals the quartets! I don’t miss the fourth voice. What a tempo in the 1st movement! More adventurous but not as polished as the Grumaiux Trio recording.
Certainly Benda had a through mastery of the complex harmonic style of Mozart. Our view of composers of the 1700's has a serious tunnel vision problem!
So well performed with gusto and refinement. The last part was taken in an amazing tempo, almost too fast in my ears, we have to open all our functions not to loose the music! It was a great pleasure watching and listening in amazement. Thank for giving this opportunity!
Jiří Antonín Benda Vesnický trh / Der Dorfjahrmarkt, Benda - Medea (1775), Ariadne auf Naxos... Here is where Mozart copied ...Why is this not generally known?
It was quite normal to take other people's music and use it as inspiration. Bach also used... let's say Albinoni's melodies to compose fuges with them. Nothing unusual. They considered music something that belongs to all.
Christian Benda, Prague Chamber Orchestra, Brigitte Quadlbauer (Speaker), Hertha Schell (Speaker), Peter Uray (Speaker) November 1994, Prague, Chapel of Brethren Church Prague
You mean "glued" to their music? I guess their priority is to the quality of the music, and they are projecting their sound to the audience. I'm not sure what you're wanting from them. To perform it in Andre Rieu style?
Encore une musique à découvrir De toute façon le génial Mozart A apprécié ce mélodrame....donc faisons confiance à Wolfgang pour les choix musicaux. C' est superbe et original.
quel dommage qu'il n'y ai aucun sous-titre français, la musique à l'air supérieur au Pygmalion de JJ Rousseau, certainement par le sujet plus dramatique; c'est la ou l'on voit l'importance de connaitre pour un mélomane en plus de l'italien
saltag They are playing the scherzo in g major, a central section like a Trio, in c major (19:40), the scherzo part, like a da capo (20:35), and Trio II in c major (21:11). Finaly, the movement ends with a scherzo da capo (22:34), this is the scherzo played from bar 85 to the end. "This 2nd Trio section has been preserved on a single sheet in Beethoven's own handwriting" (Preface from my own string parts, G. Henle Verlag, Edited by Emil Platen)
Thanks much for posting: Pinky is a study in violin mastery already, and Itzhak has the swagger of virtuoso. My apologies for not remember the cellist's name???
I found the Op. 8 Serenade a bit scratchy and felt the absence of a a fourth instrument we are used to in quartets. But these trios are wonderful. It seems that something Italian got to Beethoven around this point in his career and I think it enhances what comes from now on. The performances also provide the highest advocacy for the music.
