Although 1842 was the magical year in which Schumann produced an unprecedented number of well-received, large-scale chamber works, it was by no means the only time the composer turned to chamber music during his career. Some five years later -- perhaps inspired by his wife's piano trio or the highly successful Mendelssohn D minor Piano Trio -- Schumann himself turned to the genre. In the space of only a few months, he produced his D minor and F major trios, two works that greatly contrast with one another. The D minor Trio ...
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Although 1842 was the magical year in which Schumann produced an unprecedented number of well-received, large-scale chamber works, it was by no means the only time the composer turned to chamber music during his career. Some five years later -- perhaps inspired by his wife's piano trio or the highly successful Mendelssohn D minor Piano Trio -- Schumann himself turned to the genre. In the space of only a few months, he produced his D minor and F major trios, two works that greatly contrast with one another. The D minor Trio is especially dismal and dark, particularly in its tragic third movement; meanwhile, the F major Trio is markedly upbeat, optimistic, and filled with playfulness. Hyperion, as part of its 30th anniversary collection of reissues, has wisely chosen the 1999 recordings of these trios made by the venerable Florestan Trio. Most importantly for these two trios in particular is Florestan's ability to provide performances that are as contrasting as the scores themselves. The beautiful and...
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