Rimsky-Korsakov - Piano trio - Oistrakh / Knushevitsky / Oborin
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- čas přidán 27. 06. 2024
- Nikolai Rimsky-Korsakov
Piano trio
I. Allegro 0:00
II. Allegro 10:34
III. Adagio 14:59
IV. Adagio - Allegro assai 24:16
David Oistrakh
Sviatoslav Knushevitsky
Lev Oborin
Studio recording, Moscow - Hudba
Der seidige Ton der Violine, der tiefe Ton des Cellos und der klare Schlag des Klaviers,...alles ist ausgezeichnet! Danke fürs wertvolle Hochladen mit möglichst hoher Tonqualität!
Der untergeschätzte im Westen Rimsky-Korsakov ist hier als der schöne Muster des Romantismuses.
A masterpiece...
Marvellous piece, great recording!
-- Superbe entente dans ce beau Trio. --
Amazing artistry, as always - thank you for uploading it!
Beautiful !
Thanks
Sublime.
Thank you very much for these lovely trios by Oistrakh, Knushevitsky and Oborin.
Could someone let me know where they can be purchased? Is there a box set that includes all trios performed by them? Many seem not to be included in The David Oistrakh Edition.
With love❣️
Hadn't heard this trip before. Kordskov and so-called minor 19th century Russians must spend some time with.
Celebrate with this beautiful music the today s birthday 🎂 of Arturo Toscanini.
Beautiful ! Happy New Year !
Not your typical Rimsky, but melodic, clever, well-constructed and original - even sometimes slightly zany. Oistrakh magnificent, Knushevitsky less so. But something goes wrong at the end.
Nyikolaj Rimszkij-Korszakov:c-moll Zongoratrió
1.Allegro 00:00
2.Allegro 10:34
3.Adagio 14:59
4.Adagio - Allegro assai 24:16
David Ojsztrah-hegedű
Szvjatoszlav Knusevickij-gordonka
Lev Oborin-zongora
The key is C minor.
👍
Trio in c, for Violn, Cello & Piano (completed by Maximilian Steinberg)
I Allegro
II Scherzo
III Adagio
IV Finale: Adagio, Allegro
Rimsky-Korsakov's Trio is a very different matter. In My Musical Life (Faber: 1989), he dismisses it, together with his G major String Quartet, as proving that chamber music was not his field. He abandoned it unfinished, and it was completed years later by his son-in-law Maximilian Steinberg. Yet only in the lengthy finale does he seem to lose his way in musical manipulation; the equally long opening Allegro sustains its reflective mood well, and there is a graceful Allegro and an Adagio of much elegiac eloquence. It is an attractive and interesting piece. That the fires of inspiration burned somewhat feebly is suggested by some fairly shameless cribbing-from Beethoven's second Rasumovsky Quartet in the first movement and from his Op. 131 and the Schumann Piano Concerto in the second.