PREGHIERA Rachmaninov / Kremer 4796979

The two master artists combined their talents in "Preghiera" ("Prayer") which is a brief (5:24) setting of the slow movement of Rachmaninoff's Piano Concerto No. 2. This is a lovely setting for violin and piano, exquisitely played. The two featured works are the passionate piano trios, a rich blending of the three instruments. This is a lovely disk, beautifully recorded . . .

. . . [Trifonov and Kremer imbue "Preghiera"] with intimacy and a cathartic eloquence. Kremer's violin sustains the taut, jarring tonality, while Trifonov essays a warmer percussive framework . . . "Preghiera" proves an entrancing prologue to the main work on the recording, Rachmaninoff's three movement "Trio élégiaque no. 2" . . . Trifonov is instantly hypnotic in the solo piano opening movement . . . [leading into] a shadowy musical drama that this trio conjures with warmth and restraint . . . [the second movement] is luminously articulated. By the third movement the music, indeed, becomes the conduit for the captivating interpretive dialogues essayed by Trifonov, Dirvanauskaite and Kremer . . . [the Trio élégiaque no. 1] proves a vibrant and potent showpiece for this trio: Kremer's crystalline delicacy on the lead lines, Dirvanauskaite in sonorous cello counterpoint and Trifonov shifting gears masterfully.

In this new recording of Rachmaninoff's two trios, we have three artists who know how, without excessive sentimentality, to get deep inside a work, thereby allowing the music to speak for itself . . . Together, these musicians play beautifully . . . and Trifonov makes the most of his opportunities to shine . . . [he and his colleagues] offer superior renderings of these neglected pieces . . . [Rachmaninov/Kreisler / "Preghiera]: Kremer and Trifonov offer a profoundly expressive performance of this lovely piece . . . highly recommended.

. . . terrific . . . outstanding playing . . . [Rachmaninov / Trio élégiaque no. 2]: The performance here is outstanding, perfectly capturing the melancholy and passion of the work and with a particularly ravishing piano sound . . . [Rachmaninov / Trio élégiaque no. 1]: Another fine performance rounds out a top-notch CD.

[Rachmaninov / "Trio élégiaque" no. 2]: There's much to thrill here, but still more striking are the moments of stillness and the way the movement unfolds seamlessly . . . [the Maestoso section] is truly compelling . . . the high-lying cello melody (6'00") played with great poise by Dirvanauskaite . . . [in the second movement variations] there are many moments of great felicity, gossamer figuration in plentiful supply. The finale has all the muscle the music needs -- Trifonov's considerable technique comes into its own here -- but more importantly there's an urgency of expression that feels entirely natural . . . [Rachmaninov / "Trio élégiaque" no. 1]: once again these players vividly convey me music's architecture and the ebb and flow of its emotions, from a mood of the quietest intimacy to wild extroversion . . . [in "Preghiera"] we hear to good effect the sheer range of colour in Kremer's playing, particularly potent in the lower registers.

[Rachmaninov / Trio élégiaque no. 2]: in their hands, the central movement is an eventful and emotionally eloquent journey . . . taking wing in the brilliant third variation, reaching a peak of triumph with the bell-like sixth variation before turning sombre at the seventh . . . They are equally persuasive in the First . . . such is Trifonov's artistry that even with his dazzling technique, and without ever selling the emotional intensity of the music short, he never overshadows his colleagues, who in turn realise every colour and expressive import of their parts.

. . . the string playing here is at another level of artistry.

. . . [Rachmaninov/Kreisler: "Preghiera"]: a most suitable opening item in the programme, being slow, dreamy and melancholy . . . [Rachmaninov / Trio élégiaque no. 2]: I was immensely taken with the performance. Kremer's questing and searching tone explores his material, probing it and finding expressive details. Dirvanauskaite follows suit, and her lovely tone adds flavour and depth to the ensemble. Trifonov has a difficult task: this being Rachmaninov, the piano part is in places as demanding as a concerto, but this is chamber music and the player needs to complement his two colleagues, not dominate them. I was greatly impressed by the way Trifonov showed he could hold back, lighten his tone and play quietly, however complicated his material. He also has a lively sense of fantasy and any risk that the work might become monotonous is dispelled. After this, the first trio élégiaque sounds like preparation or a sketch for the main work, but it is worth hearing and is also well done. The recording is full and rich and the piano sound is well caught.

. . . the string playing here is at another level of artistry . . . [you will love Rachmaninov] given performances of this quality . . .

. . . superb . . . The substantial and expressive centre of this disc is the Trio élégiaque no. 2 . . . It would be difficult to imagine playing of greater depth and emotional fervour . . . Kremer and his colleagues burn with commitment . . . [the Trio no. 1 is] played with the greatest conviction. All these performances, ideally recorded, make you stop in your tracks and listen with awe.

. . . [Rachmaninov ist] ein Meister des 20. Jahrhunderts. Das hört man, wenn Kremer mit Cellistin Giedrė Dirvanauskaitė und Pianist Daniil Trifonov in den Klaviertrios des Russen die kompositorischen Strukturen drahtig klarlegt. Der Titel des Albums, "Preghiera", entlehnt dem Arrangement des zweiten Satzes des populären c-Moll-Klavierkonzerts, das die CD eröffnet, lässt auf wohlig-warme Romantik hoffen. Die bietet man hier auch; aber nicht als Selbstzweck.

[Rachmaninov/Kreisler / "Preghiera"]: Gidon Kremer und Daniil Trifonov veredeln das Stück mit dem Ernst ihres immensen Künstlertums. Sehr schön gespielt. Was ohne Abstriche auch für die beiden Klaviertrios gilt: den Ausnahmekünstlern ist eine hervorragend stimmige Einspielung gelungen.

Mit dieser Aufnahme hat Gidon Kremer wieder einmal seine Meisterschaft ebenso wie seinen unprätentiösen Interpretationsansatz zum Genuss des Hörers eingesetzt . . . Die drei Musiker liefern eine hoch intensive und über die gesamte Dauer der Aufnahme geradezu erschütternde und soghafte Interpretation, die den Hörer in ihren Bann zieht.
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Gidon Kremer, Giedré Dirvanauskaité and Daniil Trifonov present these elegiac works in highly intense and gripping performances providing extra profundity to the music.

. . . c'est le début d'une heure de bonheur. L'immense Opus 9, deuxième Trio élégiaque (1893), déploie ses tourments dans une magnificence rare, avec un piano dont l'autorité, la variété dynamique, la rondeur traversée de fulgurances . . . Trifonov impressionne ici par l'éloquence et la beauté du son . . . Le violon de Kremer; lui, est une voix humaine qui étreint et interpelle par son timbre si reconnaissable, tour à tour maugréant et lumineux, avec une qualité du discours, un parler-vrai sans ambages, allant au coeur sans verser de larmes de caramel! Et Dirvanauskaité? Elle trouve son ton propre: entre une limousine puissante et un pur-sang indomptable, le violoncelle s'élève au niveau des voisins. Rodée en concert, leur vision commune d'ombres et de lumières, de contemplation et de cavalcades est à la hauteur de l'enjeu originel . . . Ce qui vaut aussi pour le premier Trio elégiaque . . .

. . . [Rachmaninov / Trio élégiaque no. 2]: le violon passionnel, en prise directe sur l'âme humaine, de Gidon Kremer, le violoncelle expressif et fougueux de Giedré Dirvanauskaité et, plus encore, le piano rayonnant de Daniil Trifonov, chevauchant le clavier de son Fazioli sur les ailes de l'inspiration, nous entrainent dans une confrontation éperdue entre ténèbres et lumières . . .[avec "Preghiera", ils] surprendre et de nous enchanter à la fois.