Ich habe ein neues Lieblingsstück von Schubert, gestern entdeckt und mich gleich darin verliebt. Habe auch die vielen interessanten Kommentare dazu gelesen. Bisher kannte ich viele Lieder, die schönen beiden bedeutenden Sinfonien, einige Klavierwerke ( Ungarische Melodie wunderschön, Impromptus...) Ständchen Zögernd leise, Serenade, die zauberhafte "Nachthelle"...aber keine Trios und nicht viel Kammermusik aber Forellenquintett. Den Erlkönig hörten wir in der Schule mit 10/11 Jahren, die Winterreise beeindruckte mich mit 18/ 19 Jahren. Und jetzt erst mit 76 Jahren erst fand ich dieses erstaunliche Musikwerk. Per Tengstrand führte mich mit seiner Schubert-Dokumentation hierher und machte mich auf dieses Werk aufmerksam.
Il y a un moment inouï, à la 27 ème minutes, un moment d'arrêt de silence, où les trois musiciens se concertent sans toutefois vraiment se regarder, un moment d'attente et de veille exceptionnel.
Pure greatness: each instrument has its own, independent life and thus contribute to the birth of the harmony instead of being purely subordinate to it. From my point of view, a great performance. Thanks to all those who made it possible.
I had the pleasure of hearing this trio live in LA playing the piano trio of Rebecca Clarke. A fine piece and wonderfully played by the Horszowski Trio. An ensemble to watch out for and of course to listen to. Good luck.
This trio is in another league from every trio I have ever heard. They get to the heart of the music with intelligence and soul. Bravo Jesse, Rieko and Raman! You all are absolutely amazing musicians and people.
Wow; someone described this piece as epic, and I agree for a trio. Wonderful playing and thanks SO much for sharing. Schubert and Mozart left us many blessings, even in their short lifetimes. Glad that they were prolific!
Really sublime! This trio takes its name probably after the great pianist M, Horszowski, whose recording with Casals and Schneider has reigned supreme for the last 60 years. This one touches it, and how wonderful to get every note of it!
Sçhuberts Trimo ñr 2,wonderfully performed, the Cellist Raman's contribution remarkable.Reminds me of the days in Bremen where l used to spend my post dinner evenings in the Kammer Orchester Halle l Halle l wish the tonal quality of music on the net to improve.
This performance restores the two groups of 50 measures Schubert cut from the published score.....at 42:51 he combines the three main thematic ideas that dominate the movement together.
Thank you very much for sharing that insight: I certainly have NOT studied the score, to have recognized that, nor would I have compared it to 10 other renderings of the same Trio, and have even detected the difference -- but I AM going to try to do that, for fun, now that you point it out. My question to you, Mr. Sturge, would be: why do you think Schubert would have removed them (the 50 measures) from the score he chose to have published? Today, we might imagine, in a recording studio that some technical, or time constraint for a recording, would "advise'" some such accommodation to some consideration having nothing to do with the intent of the Composer? But what MIGHT have been HIS intent? Or have you found something in writing about that? Anyway, it would be delightful to know your thoughts, sir. In these trying times -- the SOURCE OF INSPIRATION IS BEAUTY ITSELF and the Creative Mind that creates such inexpressible power, which is otherwise inaccessible to the physical domain. Do you know what I am trying to say here?
@@judyclark2734 Apparently, even back then, the movement was just too long. Especially since its exposition was also repeated in the original version (230 bars!), so the repeat was removed in the first published version, as well as those two sets of 50 bars.
@@judyclark2734 Der Herausgeber forderte Schubert auf, das Werk zu kürzen. Es sei zu lang, da strich Schubert einige Wiederholungen. Das las ich in einem anderen Kommentar.
They are playing the original uncut finale. The two sets of 50 cut measures constitute some of the most interesting writing in the whole piece. The worst deprivation is the two minute passage beginning 42:52 where Schubert beautifully combines nearly all the thematic material of the movement contrapuntally.
mich sturge Thank you for explaining this. I learn so much from the comments on music videos that I’ve made a habit of reading them. I’m a visual artist, not a musician or composer, though I’ve always loved classical music & played piano as a child (by ear) and grew up listening to my mother singing & playing everything from Hank Williams & old gospel songs to operettas & Chopin. She was also “self-taught “... that is, like the rest of her siblings she grew up singing & playing various instruments (7, including the bones) as home entertainment, taught by her elders in a Cherokee community in diaspora spread out over 40 miles of forest in southern Arkansas. I was lucky enough to grow up surrounded by live music performed by my mother & other relatives at home, unlike most kids who were stuck with only television. However, television did expose me to many kinds of music I wouldn’t have heard otherwise, as we watched all televised musical performance -in the ‘50s, an amazing amount of Bernstein & others, of Nat King Cole, Perry Como, Belefante, etc. Our family was also full of members who were talented in visual art, having inherited photographic memory as well as aural memory & “perfect pitch”, some of whom became professional painters like myself. Thanks to all of you who understand the structure of classical music & bother to explain it in this section. The comments on classical music are much more interesting & educational than the comments I generally find on other subjects, from fine art to film. I’ve often wondered why this is. Not only do I often learn more about the particular piece being commented upon, I’m greatly entertained by reading the disagreements between commenters, as these are usually very civil & intelligent and often quite humorous. It’s such a relief to find such people on RU-vid, where the comments section on most subjects are full of racism, sexism, etc., and are usually seriously lacking any form of reason to boot. Most of the musicians whose comments I find online seem a different breed of people, which is delightful! Thanks to all of you who bother to write in to explain why you like or dislike a piece, why you think a particular performance is better than another, which performers you think play a certain piece better than others, etc. In the few years I’ve been listening to music on RU-vid, I’ve learned more about classical music than I ever learned in music-appreciation classes years ago, & it’s wonderful that so many people now have access to a form of music most would otherwise never have a chance to hear. Perhaps classical European & the traditional music of other peoples will gain new fans, let’s hope.
oooh that's what that was.... thanks for explaining! I was caught by surprise by that section since I hadn't heard it in any other recording and was wondering if they were improvising or something haha
Decir Schubert es decir un sentimiento profundo, insondable. Imposible no sentir esa sensación tan ardua de definir. Este trió y estos intérpretes lo ponen de relieve
Un trio de caracteristicas casi sinfonicas, es el legado inmortal de Schubert, una inspiracion divina en su concepcion. Esta version es hermosa igualmente, hay otras maravillosas tambien. Es el trio mas importante de todos los compuestos anteriormente, salvo el movimiento del Andante del op. 70, "Ghost" de Beethoven. El Andante es una obra en si misma y lo vuelven a repetir en una recapitulacion en el Allegro Moderato final. Una emocion sin limites al escuchar este Andante cn Moto siempre.
Beautifully played, a couple of tiny minor mistakes, but nothing else. The page turner for the pianist looks a bit like Lady Lyndon played by Marisa Berenson in Barry Lyndon, of which the 2nd movement was played as background music during the candlelight scene.
C'est presque comme si c'était moi qui interprétait cette oeuvre, moi qui ne suis pas musicien. Comme si mon angoisse avait pris la parole de façon décisive.
Violinen sind schöne Instrumente, zu schön als durch einen Putzlappen entstellt zu werden. Ok., er ist der Künstler, aber sehen mag ich das jetzt nicht mehr.