Stanford: Piano Quartet No. 1 in F, Op. 15 / Piano Trio No. 1, Op. 35

Charles Villiers Stanford (Composer), Pirasti Trio (Performer), Philip Dukes (Performer) | Format: Audio CD

Product Details

• Performer: Pirasti Trio, Philip Dukes
• Composer: Charles Villiers Stanford
• Audio CD (September 25, 2001)
• SPARS Code: DDD
• Number of Discs: 1
• Label: ASV
• ASIN: B00005MGAM
• Also Available in: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #533,909 in Music (See Top 100 in Music)

Customer Reviews

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2 of 2 people found the following review helpful:

5.0 out of 5 stars Some very noble writing from among Britains Great composers, May 17, 2004

By 

David Anthony Hollingsworth (Washington, DC USA) - See all my reviews
(VINE VOICE)   

This review is from: Stanford: Piano Quartet No. 1 in F, Op. 15 / Piano Trio No. 1, Op. 35 (Audio CD)

Falling head over heels in love with some of Stanford's works (his Fifth Symphony being among my all-time favorites), his chamber music on this disc is likely winning converts as we speak. The First Piano Quartet, of 1879, is among the loveliest I've heard in years. Written when Stanford was twenty-seven, it happens to be a very captivating composition, especially in the first movement. Much of what have been said of Brahms' influence on Stanford can be evidential in this work. And yet the melodic ideas remain so fresh that even Elgar would've love to claim as his own (and the style and idiom either evokes or anticipates Elgar's masterpieces). The piano writing is particularly elegant and stylish in the best of British musical tradition. Turn to the Scherzo and it is Karl Goldmark who my mind rests on. The parallelism is perhaps accidental, but some Goldmark's noble writing is quite considerably evoked. The slow movement is more introspective in character, announced at first by the cello and then picked up by the piano. Again, the writing for the piano is wonderful, especially @3"05'. A brief burst in passion ensues in the middle, but the elegance remains very firmly intact, as in the finale, believe it or not. It's not as empty or shallow of a movement as some might anticipate, for Stanford's graceful ears and flair remain unrelenting. And it is only a playing with style and pure artistry that can bring forth those fine qualities to light, which is what Philip Dukes and the Pirasti Trio do in this very fine, realistically sounding ASV recording. But much must be said in Jeffrey Sharkey's piano playing. He's a fairly eminent pianist (though why is he hardly familiar in the United States I have no idea). But, I found his playing hypnotizing. Not to take anything from this highly professional ensemble, which is excellent and plays with plenty of verve, flair, and warmth, but somehow Sharkey's playing just simply stands out (Stanford's sumptuous writing for the piano has much to do with this). His playing, well,....flows, like an endless stream and he reminds me of Stephen Coombs of how poised yet inventive rest behind his own playing and interpretation.

And that model performance of the Quartet by Pirasti carries well onto Stanford's First Piano Trio. Written ten years later, the Trio is perhaps not as fine as the Quartet (some of the freshness are gone). But there's plenty of fine music here. The first movement is alluringly noble in temperament. But the Scherzo proves to be more memorable. It has sort of a Slavonic feel and innocence to it that a youthful Tchaikovsky props up even subconsciously. There's something of dignity and ripeness in the delicious Tempo di menuetto third movement. It's easy going way in the writing is quite soothing. But, then again, Stanford's reputation rests in part with his ability to portray the moods behind his music convincingly and with great skill and craftsmanship (albeit with lesser consistency and sometimes with less inspiration than Bax a generation later). But, as in the finale of the Quartet, this one does not outstay its welcome.

A very welcoming ASV compact disc recording, with some excellent playing by all involved and, as always, a masterful and a very detailed booklet essay by Lewis Foreman (who, by now, shall be considered the foremost authority of British music). With Stanford's other chamber works (including two Trios) left to record, why stop now when the Pirasti Trio just got started on something special and revealing that will stick around for quite some time to come?

I mean, seriously.......