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.

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

. . . [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.

. . . 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.