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Schumann: Complete Works for Piano Trio

Leif Ove Andsnes , Christian Tetzlaff , Tanja Tetzlaff , Robert Schumann Audio CD
4.0 out of 5 stars  See all reviews (3 customer reviews)
Price: £10.04 & FREE Delivery in the UK. Details
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Product details

  • Composer: Robert Schumann
  • Audio CD (11 April 2011)
  • Number of Discs: 2
  • Label: EMI
  • ASIN: B004N96HXI
  • Other Editions: MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 93,353 in Music (See Top 100 in Music)

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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Disc 1:

Song Title Time Price
Listen  1. Piano Trio No. 1 in D Minor, Op.63: I. Mit Energie und Leidenschaft12:19Album Only
Listen  2. Piano Trio No. 1 in D Minor, Op.63: II. Lebhaft, doch nicht zu rasch 4:58£0.99  Buy MP3 
Listen  3. Piano Trio No. 1 in D Minor, Op.63: III. Langsam, mit inniger Empfindung 6:06£0.99  Buy MP3 
Listen  4. Piano Trio No. 1 in D Minor, Op.63: IV. Mit Feuer 7:58£0.99  Buy MP3 
Listen  5. Piano Trio No. 2 in F Major, Op.80: I. Sehr lebhaft 7:40£0.99  Buy MP3 
Listen  6. Piano Trio No. 2 in F Major, Op.80: II. Mit innigem Ausdruck 7:31£0.99  Buy MP3 
Listen  7. Piano Trio No. 2 in F Major, Op.80: III. In massiger Bewegung 5:02£0.99  Buy MP3 
Listen  8. Piano Trio No. 2 in F Major, Op.80: IV. Nicht zu rasch 5:39£0.99  Buy MP3 
Listen  9. Sech Stückein kanonischer Form, Op.56 arr. for Piano Trio: I. Nicht zu schnell 2:01£0.99  Buy MP3 
Listen10. Sech Stückein kanonischer Form, Op.56 arr. for Piano Trio: II. Mit inningem Ausdruck 4:24£0.99  Buy MP3 
Listen11. Sech Stückein kanonischer Form, Op.56 arr. for Piano Trio: III. Andantino 1:44£0.99  Buy MP3 
Listen12. Sech Stückein kanonischer Form, Op.56 arr. for Piano Trio: IV. Innig 3:20£0.99  Buy MP3 
Listen13. Sech Stückein kanonischer Form, Op.56 arr. for Piano Trio: V. Nicht zu schnell 2:35£0.99  Buy MP3 
Listen14. Sech Stückein kanonischer Form, Op.56 arr. for Piano Trio: VI. Adagio 3:51£0.99  Buy MP3 

Disc 2:

Song Title Time Price
Listen  1. Piano Trio No. 3 in G Minor, Op.110: I. Bewegt, doch nicht zu rasch 9:55£0.99  Buy MP3 
Listen  2. Piano Trio No. 3 in G Minor, Op.110: II. Ziemlich langsam - Etwas bewegter - Schneller - Erstes Tempo 6:08£0.99  Buy MP3 
Listen  3. Piano Trio No. 3 in G Minor, Op.110: III. Rasch 4:30£0.99  Buy MP3 
Listen  4. Piano Trio No. 3 in G Minor, Op.110: IV. Kräftig, mit Humor 7:39£0.99  Buy MP3 
Listen  5. Fantasiestücke für klavier, Violine and Violoncello, Op.88: I. Romanze. Nicht schnell, mit innigem Ausdruck 2:25£0.99  Buy MP3 
Listen  6. Fantasiestücke für klavier, Violine and Violoncello, Op.88: II. Humoreske. Lebhaft 7:11£0.99  Buy MP3 
Listen  7. Fantasiestücke für klavier, Violine and Violoncello, Op.88: III. Duett. Langsam und mit Ausdruck 3:20£0.99  Buy MP3 
Listen  8. Fantasiestücke für klavier, Violine and Violoncello, Op.88: IV. Finale. Im Marsch-Tempo 5:30£0.99  Buy MP3 

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Customer Reviews

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Most Helpful Customer Reviews
5.0 out of 5 stars WE'RE SPOILED FOR CHOICE 27 April 2014
Format:Audio CD|Verified Purchase
For works that are supposedly neglected, Schumann's piano trios are very well provided with first-class modern recordings. My own collection contains a set with exactly the same music as we find here performed on two Naxos discs (available separately) by the Vienna Brahms Trio, and I gather that Argerich Kremer and Maisky have an offering as well. I can recommend this set from Andsnes and the Tetzlaffs without hesitation or deviation. If I had to do a detailed comparison with its Vienna `rivals' I would be forced into a great deal of repetition, because I find the virtues of both sets to be very much the same.

For many listeners I imagine the choice will come down to the kind of sound they prefer in Schumann. The sound on the set under review is warm and rich. That is not the effect I would prefer in Mendelssohn, or even in Dvorak's Dumky, but it surely works in Schumann. The three instruments have a tad more `definition' on the Naxos discs, but to be sure there's not a lot in it. In terms of the general concept of the pieces there is even less to choose. Tempi are broadly similar, with one group a little faster here but slower there, and phrasing and expression in general differing between the two groups only in minutiae. What is not lacking from any of them is a sense of the affection that this music demands. These players believe in what they are doing. Even in the third trio, dating from the composer's late years when his mental illness was far advanced, our artists here bring so much commitment to the music that I for one was not inclined to fret over any deterioration, real or supposed, in Schumann's inspiration.
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1 of 2 people found the following review helpful
2.0 out of 5 stars Chilly Robert Schumann - unexpectedly so! 21 Mar 2014
Format:Audio CD
I bought this CD set when it came out and have rarely returned to it. Although I have much admiration for the Tetzlaff's and Andsnes, this trio don't sound as engaged as they might be, rather missing the emotional side that Robert Schumann's music frequently exhibits. Very disappointing.

Much better choices in this repertoire, in my opinion, will be found on the Onyx set from Gringolts, Kouzov and Laul or that from Trio Parnassus on MDG.
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1 of 3 people found the following review helpful
5.0 out of 5 stars Moving performances 28 April 2013
Format:Audio CD|Verified Purchase
These are lovely performances, beautifully shaped melodic lines but balance by fresh rhythmic movement. These are performances to be enjoyed over and over again.
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Most Helpful Customer Reviews on (beta) 4.6 out of 5 stars  8 reviews
16 of 18 people found the following review helpful
5.0 out of 5 stars The Other Chamber Music of Robert Schumann 4 May 2011
By Grady Harp - Published on
Format:Audio CD
As much as the concert public loves the often performed symphonies of Robert Schumann and singers offer the inordinately beautiful lieder cycles of this great Romantic composer, few even are aware of all the chamber music Schumann created outside of the String Quartets, Piano Quintets and works for accompanied soloists. Here on these two CDs are the complete works for piano trio The Piano Trio No.1 in D Minor, Piano Trio No. 2 in F Major, Piano Trio No. 3 in G Minor and the Six Studies in Canon Form, Op.56 arr. for Piano Trio ('Six Studies in Canon Form are lyrical and unobtrusively contrapuntal. Schumann composed them for the pedal piano which, like an organ, had an extra set of notes played with the feet; an example of the instrument is on display at Schumann's birthplace in Zwickau') and 'Fantasy pieces for Piano, Violin and cello. It is a feast of new Schumann information and a richly rewarding performance.

Leif Ove Andsnes continues to challenge his enraptured audience with not only his mastery of the keyboard but his intellectual probing into musical history. His playing on this recording is as always warmly sensitive and brilliantly executed, but at the same time he understands the intricate interplay with his colleagues - Christian Tetzlaff, violin and Tania Tetzlaff, cello. Together they soar through Schumann's technical challenges and bring out all of the melancholy and profound feeling so present in all of Robert Schumann's works. This is generous offering and a splendid recital. Grady Harp, May 11
6 of 6 people found the following review helpful
5.0 out of 5 stars Romanticism and musical beauty in the purest form 2 Aug 2011
By P. Adrian - Published on
Format:Audio CD|Verified Purchase
The complete oeuvre for piano trio written by the German composer Robert Schumann is indisputably an amount of romantic beauties. Alert succession of moods, daring technical solutions, inspired melodic vein, proper displays for little chamber ensemble - there are plenty in this recorded twofer released recently by a wonderful musical team! Pianist Leif Ove Andsnes, violinist Christian Tetzlaff and cellist Tanja Tetzlaff form together a dream team. I had the rare chance to listen to their performance with this very repertoire two years ago, in September 2009 during the George Enescu International Festival in Bucharest, on the stage of the Romanian Atheneum. Pure delight!
8 of 9 people found the following review helpful
5.0 out of 5 stars Lush and romantic Schumann played superbly 7 Aug 2011
By GEORGE RANNIE - Published on
Format:Audio CD|Verified Purchase
This marvelous two (2) disc set of Robert Schumann's three (3) Piano Trios plus the Fantaiestuke opus 88 for piano, violin and cello and six (6) Etudes in Canonic form opus 56(arranged for piano trio in the 1800s by Kirchner--these works are "new" to me but are lovely. The 5th is especially appealing to me reminding me greatly of a Mendelssohn scherzo) is played superbly in this 2009 and 2010 recording. My god the works are played so wonderfully by three of today's leading musicians, Leif Andsnes on piano--he is, as always, fabulous playing with so much passion, Christian Tetzlaff on violin and Tanja Tetzlaff on cello. All three are superb playing the subject works with passion, loads of bravado and tenderness. I really enjoyed hearing these works again especially as played in these recordings--they are so lush and romantic sounding. By the way, the recorded sound is terrific.
3 of 3 people found the following review helpful
5.0 out of 5 stars With this and the Argerich/Kremer/Maisky we are spoiled 30 Jan 2013
By Robert L. Mackenzie - Published on
Format:Audio CD|Verified Purchase
The biggest difference between this and the above referenced Argerich may be the choice of tempi. The result is that the Argerich is more swashbuckling while the Andsnes is a little more reflective. This is very much a matter of personal choice. I like Argerich's choice of tempi better but it is wonderful to have both versions.
19 of 28 people found the following review helpful
3.0 out of 5 stars Accomplished, sincere readings of some troubled music - we dive right into the Schumann controversy 31 Aug 2011
By Santa Fe Listener - Published on
Format:Audio CD
Newcomers to Schumann's piano trios may feel a bit blindsided by the five-star raves, since this long-neglected music has been under a cloud for a century and a half. Schumann's musical gifts declined tragically and severely as his mental state deteriorated. There is still no adequate diagnosis for why he ended his life as an inmate in an asylum, but signs of imbalance, leading to a suicide attempt, were probably present at an early date. Given the manic state in which Schumann could produce scores in a matter of days or weeks, perhaps he was bipolar. The connection between his genius and his disturbed psyche doesn't need to intrude here - it's a very complex question - but prior generations had no doubt that certain scores, including these three piano trios, showed a drastic falling off.

In what way? The melodies are no longer memorable, the themes often seeming banal; the development sections wander aimlessly; harmonic transitions are arbitrary; no real structure can be discerned as the various instrumental lines falter, sag, and meander. These flaws appeared almost in a straight line after 1850; critics complained that Schumann's music, always rhapsodic and unencumbered by strict sonata form, now showed signs of a troubling shapelessness. The reason for the prospective buyer to know this background is that nothing on this 2-CD set is unalloyed genius - far from it.

Recently the tide has turned in the composer's favor. The first opening probably came when noted violinists like Gidon Kremer began to play the Violin Cto., which had been suppressed by the composer's estate (they went so far as to seek a legal injunction against its performance). The baton was then passed to Martha Argerich, who has recorded a dozen obscure chamber works for EMI, largely drawn from live concerts at her summer festival in Lugano. I applaud the efforts of great musicians to open our ears to music that was scorned and dismissed.

This set, which just received a stone rave from the NY Times, is the latest front in the crusade. Schumann composed the first two piano trios in quick succession in 1847, and without a doubt they contain some beautiful music. Listening to the opening of the Piano Trio no. 1 in D minor Op. 63, you'd assume that this music equals the triumph of his two best and best-known chamber works, the Piano Quartet and Piano Quintet, both dating from one of Schumann's glory years, 1842. But like the other two trios, the first is an inconsistent work, with a sprawling, unfocused first movement and a startlingly banal, repetitive second movement. Although it's been said that the early piano trios were modeled on Mendelssohn's, the opening to Piano Trio no. 2 in F Op. 80 feels more like Beethoven to me, falling in line with Schumann's modeling of his string quartets on Beethoven. The second piano trio has a lovely slow movement and a strangely appealing Scherzo that walks with a limp. The finale feels pointless and disorganized, however.

The Times's reviewer tried to argue against the wandering diffuseness of late Schumann by pointing out moments of counterpoint in the piano trios, as if academic touches amount to inspiration. The real defense of this music lies in turning its weaknesses into strengths, that is, by accenting the spontaneous and unexpected gestures it makes. Between them, pianist Leif Ove Andsness and the Tetzlaff siblings on violin and cello are very good at this defense. There's a lilt and ease about their phrasing that brings light into some very obscure corners. If you are attuned to Schumann's more impenetrable piano works, like the highly polyphonic Six Studies in Canonic Form - some of the most gnomic music written in the Romantic period - these trios may speak to you, however meandering and strange they become. The six Studies are played here in a transcription for piano trio that isn't by Schumann's hand.

The Piano Trio no. 3 in G minor carries the late opus number of Op. 110 and dates from 1851, well into Schumann's mental disturbance. Some of his late music fascinates people the way De Kooning's paintings do after he fell victim to Alzheimer's. Squiggles and childish doodling got interpreted as a struggle in the being of a romantic artist striving to remain intact. Schumann's third piano trio consists of striking gestures and snatches of melody that never amount to a coherent score, but the gestures have a kind of broken poignancy. On the surface there's no there there. Whether sincerely or not, reviewers have gushed over this new recording as if the dust has been blown off a series of masterpieces. I agree with the first part but not the latter.

Having heard the whole range of music that Schumann composed as he deteriorated, I come away with some moments of pleasure but many more of sadness and regret.
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