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Inscapes - Trio Voce

Jasmine Lin , violin , Marina Hoover , cello , Patricia Tao , piano , Mieczyslaw Weinberg , Dmitri Shostakovich , none Audio CD

Price: $10.35 & FREE Shipping on orders over $35. Details
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MP3 Music, 9 Songs, 2010 $8.91  
Audio CD, 2010 $10.35  

Listen to Samples and Buy MP3s

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

Samples
Song TitleArtist Time Price
listen  1. Piano Trio, Op. 24: I. Praeludium und ArieJasmine Lin, Marina Hoover & Patricia Tao 6:01$0.99  Buy MP3 
listen  2. Piano Trio, Op. 24: II. ToccataJasmine Lin, Marina Hoover & Patricia Tao 4:22$0.99  Buy MP3 
listen  3. Piano Trio, Op. 24: III. PoemJasmine Lin, Marina Hoover & Patricia Tao 9:52$0.99  Buy MP3 
listen  4. Piano Trio, Op. 24: IV. FinaleJasmine Lin, Marina Hoover & Patricia Tao11:46$0.99  Buy MP3 
listen  5. Piano Trio No. 1, Op. 8Jasmine Lin, Marina Hoover & Patricia Tao13:23$0.99  Buy MP3 
listen  6. Piano Trio No. 2 : I. AndanteJasmine Lin, Marina Hoover & Patricia Tao 8:23$0.99  Buy MP3 
listen  7. Piano Trio, No. 2: II. Allegro non troppoJasmine Lin, Marina Hoover & Patricia Tao 3:10$0.99  Buy MP3 
listen  8. Piano Trio No. 2: III. LargoJasmine Lin, Marina Hoover & Patricia Tao 5:35$0.99  Buy MP3 
listen  9. Piano Trio, No. 2: III. AllegrettoJasmine Lin, Marina Hoover & Patricia Tao11:07$0.99  Buy MP3 



Product Details


Editorial Reviews

Review

Trios from two musical bedfellows beautifully captured in Chicago The big winner here is Mieczyslaw Weinberg, whose wartime masterpiece, composed in 1943, has a more profound belief in the strength of structure and formality than Shostakovich's Opus 67 which instead rails against the absurdity of structural formalism in tones of both outrageous self-parody and frightful intensity. Born in Poland, Weinberg first fled to Minsk then to Tashkent. He moved to Moscow thanks to Shostakovich, to whom he had sent his first Symphony. They both were devoted to Bach and each became uniquely their master's alter ego. Weinberg's Trio, beginning with a heraldic opening recalling Brahms in an unexpected way, is fractured by violent cataclysms that make survival a matter of will. The power of its lyric energy is surprisingly soft but monotone, like being ravished by Garbo's Ninotchka. It is music of the night, hard fought, tonal in large part, vividly narrative and only occasionally lit up by flares. It is the music of a man above whose head flew the flag of Josef Stalin, not the National Endowment for the Arts. The University of Alberta-based Trio Voce play every bar of the Weinberg for everything it's worth, which sometimes means a sort of clunky methodical gait with lots of bow laid on the strings (great double-stops from violinist Jasmine Lin). They approach the Shostakovich Trios with equally straightforward, sturdy appetite and the result in Opus 67 is rich in rustic peasant gaits and attitude. Meanwhile, every chord and each slide and glissando is captured by Bill Maylone s crack crew working at WFMT in Chicago. --Gramophone Magazine, May 2011

"Trio Voce's performances are fine ones" "Quite a program, played with gusto and deep feeling by Trio Voce." "...great music and fine performances..." --Audiophile Audition, Feb. 2011

These are compelling and characterful performances evincing immense concentration by Trio Voce. A slightly rough edge suits these scores far better than smooth refinement. The playing has the spontaneity of live music-making. Recorded at the WFMT Studios in Chicago the sound is vividly clear and extremely well balanced. This excellent disc would prove an important addition to any serious collection of twentieth-century chamber music. --MusicWeb

Despite their stylistic and expressive differences one a result of youthful ardor, the other a profound wartime lament and protest it's always a boon to have both of Shostakovich's piano trios offered together on disc, especially when they are given such deeply committed and passionate performances as these by Trio Voce. ...they bring a singing quality and suppleness to the sentimental melodic curves of the First Trio, and a sense of gravitas to the Second Trio. In those passages of the latter where the composer lightens the mood or introduces a dancing figure ... in the robust moments they really dig in, always allowing the contrapuntal lines equal prominence, and not submerging any of the more dissonant harmonies. This is impressive music-making, technically and interpretively. But as good as the Shostakovich is, an even more urgent reason to hear this disc is for the piano trio by Mieczyslaw Weinberg (aka Vainberg). A close friend and frequent musical collaborator with Shostakovich, Weinberg is finally beginning to emerge from the older and obviously more famous composer's shadow. Recordings like this one should help to bolster his reputation the 1945 Piano Trio op. 24 is a powerful work of conflicting emotions and grand gestures, here given a fully persuasive, gripping performance. The opening Präludium und Arie begins with pounding piano and string chords that could be air raid sirens, gradually settling down into a serene, if edgy, aria, followed by a wild Toccata that features rapid, angular piano passages (suggesting Prokofiev) and biting strings, a Poem of elegant sadness that builds in intensity, and a Finale that alternates between jostling aggression and lyrical contemplation, ending with an effective, elegiac diminuendo. Trio Voce is violinist Jasmine Lin, cellist Marina Hoover, and pianist Patricia Tao. More, please. Art Lange - Fanfare Magazine --Fanfare Jan/Feb 2013

Mieczyslaw Weinberg (1919-1996) and Dmitri Shostakovich (1906-1974) share a remarkably similar voice and seem to have influenced each other profoundly. It is thought that much of Shostakovich's interest in Jewish music stemmed from his friendship with the younger Pole. Weinberg's Piano Trio was composed in 1945, two years before the masterpiece in the same genre by Shostakovich. I am very pleased to find both works featured on a new recording by Trio Voce, an ensemble which includes American violinist Jasmine Lin and Canadians Marina Hoover, founding cellist of the St. Lawrence String Quartet, and Alberta pianist Patricia Tao. The disc, entitled Inscapes (Con Brio CBR21045, conbriorecordings.com), includes not only the Weinberg trio Op.24 and Shostakovich's familiar Op.67, but also a rare performance of the latter's early first trio Op.8. The performances are sensitively nuanced and dynamic and the recording, done at WFMT Studios in Chicago last May, is immaculate. The Whole Note - David Olds --The Whole Note

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