Trio di Fiesole, Piero Farulli, Franco Petracchi - Franz Schubert - Ludwig van Beethoven (Remastered) (2023) [Hi-Res]

Tracklist

01. Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota” Allegro Vivace
02. Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota” Andante
03. Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota” Scherzo Presto
04. Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota” Tema Andantino, Variazioni 15, Allegretto
05. Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota” Finale Allegro giusto
06. Trio per pianoforte, violino e violoncello n. 4 in re maggiore, op. 70 n. 1 “Trio degli spettri” Allegro vivace e con brio
07. Trio per pianoforte, violino e violoncello n. 4 in re maggiore, op. 70 n. 1 “Trio degli spettri” Largo assai ed espressivo
08. Trio per pianoforte, violino e violoncello n. 4 in re maggiore, op. 70 n. 1 “Trio degli spettri” Presto

The Quintet with pianoforte in La major, op. 114 (D.667) "The Trout" constitutes, together with two trios with pianoforte op. 99 and op. 100 and two lesser-known works, Schubert's contribution to music for chamber groups with pianoforte. In this passage associated with the pianoforte is the violin, the viola, the violoncello and the double-bass. The rather unusual organic instrumentation, it seems, was suggested by the purchaser and dedicated patron of the Quintet, Sylvester Paumgartner. Schubert had met this music-lover and amateur violoncellist in the summer of 1819 at Steyr during a holiday spent in Styria with the singer Vogl. It seems that in Paumgartner's house, they together with other friends, executed the Quintet in Mi flat minor by Johann Nepomuk Hummel, in which the second violin is substituted by the double-bass. Schubert terminated the composition during the year 1819. Shortly after his death, Vogl attracted the attention of the editor Czemy to the existence of said work, which was published at Vienna in 1829. Also the subdivision of the Quintet in five movements, with every probability, is due to the desire expressed by Paumgartner to have a part which is in variable forms for his preferred "lied" (Tune): Die Forelle (The Trout) which Schubert composed in 1817. However, when listening to the quintet, it would be opportune for the just appreciation of the opera, to not lose sight of the circumstances which determined its creation. It is a matter of not overvalueing, to the detriment of the other movements, the fourth part which indeed contains the instrumental version of the well-known Lied Tune). ...

Beethoven's potent phantasy, by now enclosed within the walls of his deafness, created two masterpieces in 1808 in which the sublimity of sound is reached: Symphony N.6 in Fa major "Pastorale”. Above all we may recall the Andante molto mosso entitled "Szene am Bach" and the Trio n.1 of the opera 70, "Geistertrio”. The scheme of the first part of the Trio op.70 N. 1 is that classic one of the forma-sonata: first theme - secondary theme - development - resumption. Only that, Beethoven enriches it to such a degree that - one may say that he flings into it handfulls of those sonorific figures, for the greater part deriving from thematic material -that the only remains of the theme is the function of the ruled lines; a pathway for finding one's direction in those intricate meanders which vein the Allegro vivace e con brio. At the start of the first part, the principle theme arises in the first four beats with energetic gesture of all the instruments in unison on four octaves. In the seventh and eighth beat, only the violoncello presents p dolce, the secondary theme. A transitional modulation conveys to the tonality of Si flat major already adumbrated in the "Fa naturale" which appears after the exposition of the principal theme. The "Allegro" is subdivided into two parts, the first part having a simpler composition; the other more complex. Whilst in the first part only the canonic imitation of the second theme appears, in the second part a refined counterpointistic play starts and continues right up to the return of the principle theme in Re major...

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