The name of Woldemar Bargiel is almost unknown, even to enthusiasts of 19th century piano music. He studied with Ignaz Moscheles and Niels Gade but also had advice on the earlier of these two piano trios from Schumann, who one may surmise left a profound influence. They could almost be taken for rediscovered Schumann or early Brahms chamber works, although one does not have the feeling that one has with Brahms of entering the forest of thematic interrelationships, but these are trios from 1851 and 1857. A lot of music ...
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The name of Woldemar Bargiel is almost unknown, even to enthusiasts of 19th century piano music. He studied with Ignaz Moscheles and Niels Gade but also had advice on the earlier of these two piano trios from Schumann, who one may surmise left a profound influence. They could almost be taken for rediscovered Schumann or early Brahms chamber works, although one does not have the feeling that one has with Brahms of entering the forest of thematic interrelationships, but these are trios from 1851 and 1857. A lot of music sounding like Brahms was written after Brahms had set the example, yet these were written without the benefit of that. The rather youthful Piano Trio No. 1 in F major, Op. 6, is immensely appealing, with its noble Scherzo and its finale that manages to pack in a lot of fugal material without losing its essential quality of cheerfulness. Both slow movements are notably passionate. The Leonore Piano Trio gives this music their all, conveying a lot of enthusiasm without losing the balance...
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