youtube/watch?v=Fnr2d3l9jrw David Golub, piano, Glenn Dicterow, violin, and James Kreger, cello play Poco Adagio from Trio in F Minor, Op. 65 by Antonin Dvorak (Bridge Records 9242). (a historic live performance from the Marlboro Music Festival, 1970) This CD may be purchased at: Amazon: amazon/Piano-Trio-Op-6... Arkiv Music: arkivmusic/classical/D... Downloads at iTunes: itunes.apple/us/album/id27... This fine disc of two Dvorak chamber works is dedicated to the memory of pianist David Golub, who died in 2000 at the age of 50. We hear Mr. Golubs art in the opening F Minor Trio (August 1970) from a live broadcast from the Marlboro Music Festival. Both dramatic and rhapsodic the F Minor Trio (1883) pulses with declamatory and lyric fervor. The cello part--passionately put forth by Kreger--possesses a decidedly virtuosic, solo character, and we feel that the Cello Concerto is already burgeoning in the composers imagination. The violins figures often revert to Bohemian, Slavonic character, folksy, melancholy, and always poignant. This happy synthesis of the native and the classically formal makes Dvorak the natural heir of the Haydn/Beethoven/Brahms tradition. The ensuing Allegro grazioso (furiant) has the sizzle and leaping motor energy we hear in Dvoraks American pieces, inspired by elastic impulses from Indian chant and long, scythe-like gestures. Golubs tinkling contribution more than once has the pearly authority we recall from Mieczyslaw Horszowski. Again, the cello speaks for Dvoraks songful soul in the Poco adagio, where Dicterows violin joins Kreger for several lovely intertwinings. The passionate sequences that occupy the middle section ring with Brahmsian sincerity. Dicterows violin soars up in league with cello and piano in a plangent way that only the Terzetto, Op. 74 and the slow movement of the American Quartet will imitate with any success. The last movement combines syncopation and high expressivity, a folk dance ripe for fugal treatment which doesnt mind if it settles for being a Beethoven horse-race or a Chopin nocturne. Rousing audience thunder at the last note. - Audiophile Audition The hallmarks of this account of one of Dvoraks most lyrical chamber works are the total commitment of all the participants and a close blend and rapport between the two strings. The opening movement, of concerto complexity, contrasts dramatic and rhapsodic elements, with particularly beautiful melody for the cello as second subject and lovely coda for the violin. There follow a scherzo based on a Czech dance, the furiant, then a really amorous slow movement, marked Poco Adagio, with glowing harmonies and glorious tone coloring, plus a stunning violin solo that begins with a great leap. The finale, Allegro con brio, is rich in incidents and with expressive, heartbreaking melodies in a profusion that is remarkable, even by the standards of this prolific composer. - Atlanta Audio Society
Posted on: Wed, 26 Mar 2014 18:01:08 +0000
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