Jennifer Caine Provine, Sally Singer Tuttle & Oxana Ejokina | Volta Piano Trio

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Classical: Romantic Era Classical: Brahms Moods: Instrumental
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Volta Piano Trio

by Jennifer Caine Provine, Sally Singer Tuttle & Oxana Ejokina

Clara and Johannes; a combination that is hard to beat. Played by Volta Piano Trio, formerly Icicle Creek Piano Trio, an award-winning and critically acclaimed ensemble. This is a must hear!
Genre: Classical: Romantic Era
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  Song Share Time Download
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1. Piano Trio in B Major, Op. 8: I. Allegro con brio
Jennifer Caine Provine, Sally Singer Tuttle & Oxana Ejokina
14:42 $1.29
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2. Piano Trio in B Major, Op. 8: II. Scherzo. Allegro molto
Jennifer Caine Provine, Sally Singer Tuttle & Oxana Ejokina
6:53 $0.99
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3. Piano Trio in B Major, Op. 8: III. Adagio
Jennifer Caine Provine, Sally Singer Tuttle & Oxana Ejokina
7:35 $0.99
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4. Piano Trio in B Major, Op. 8: IV. Allegro
Jennifer Caine Provine, Sally Singer Tuttle & Oxana Ejokina
6:47 $0.99
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5. Piano Trio in G Minor, Op. 17: I. Allegro moderato
Jennifer Caine Provine, Sally Singer Tuttle & Oxana Ejokina
10:29 $1.29
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6. Piano Trio in G Minor, Op. 17: II. Scherzo. Tempo di menuetto
Jennifer Caine Provine, Sally Singer Tuttle & Oxana Ejokina
4:22 $0.99
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7. Piano Trio in G Minor, Op. 17: III. Andante
Jennifer Caine Provine, Sally Singer Tuttle & Oxana Ejokina
5:00 $0.99
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8. Piano Trio in G Minor, Op. 17: IV. Allegretto
Jennifer Caine Provine, Sally Singer Tuttle & Oxana Ejokina
7:29 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The close connection of Johannes Brahms and Clara Schumann is well known, and their important contributions to the Romantic period in music were no doubt enriched by their mutually supportive friendship. This pairing of Brahams’ first and Clara Schumann’s only piano trios strives to appreciate these works individually while recognizing how the artists’ lives intersected.

Clara Schumann’s Piano Trio in G minor, Op. 17, was written in 1846 and is considered by many to be her compositional masterpiece. Her output included mostly solo piano pieces and lieder as well as a piano concerto and other smaller works in addition to the trio, but their number was necessarily limited. Renowned in her day as an exceptional concert pianist, Clara Schumann sustained a busy and successful performance career, providing financially for her family (she bore eight children in all), while promoting her husband Robert Schumann’s career and music and simultaneously managing their home life. The trio reflects her often overlooked skills as a composer and is infused with the zeitgeist of the era. A lyrical and masterfully balanced first movement follows the traditional form and is followed by a carefree yet graceful Scherzo featuring a distinctive “Scotch snap” rhythm. The Andante movement covers a broad emotional spectrum from tender lyricism to strong pathos, and the final movement showcases compositional craftsmanship in Clara’s fugal treatment of the opening theme and ends this quintessentially Romantic work with emotional power. It leaves one feeling that many great compositions were left unwritten in Clara Schumann’s busy and full life.

In 1853, the Schumanns met the young composer, Johannes Brahms, and the respect and admiration between them was mutual and deep. It was in the following year that Brahms completed his first piano trio in B major, Op. 8. Though Brahms was in the habit of destroying many of his early works which did not satisfy him, he deemed the trio worthy to be published. Thirty-five years later, he revisited the work and wrote to Clara Schumann in 1889: “With what childish amusement I whiled away the beautiful summer days you will never guess. I have rewritten my B Major Trio... It will not be as wild as before - but will it be better?” It is this revised edition, a blend of both early and late Brahms, that is most commonly heard today, including on this disc, and the existence of both versions gives a rare glimpse into Brahms’ development from youth to maturity. The piece is a beloved
standard in the chamber music repertoire, epic in length and symphonic in scope. It is comprised of four movements which encompass long sweeping lines, unbounded exuberance, meditative tranquility, and enormous power. A massive sonata-form first movement opens in a radiant B major world, journeying through a stormy development, and ending with a a sublime tranquillo coda. The Scherzo second movement is Beethovenian in proportions, energetic and orchestral, yet capturing intimate, lyrical lines and fleeting moods. The otherworldly stillness and beauty of the Adagio third movement is followed by a restless and dark finale which seals the fate of the piece’s journey to a turbulent B minor end.

— program notes by Jennifer Caine Provine

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