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Taneiev : Musique de chambre pour piano. Cammarano, Deljavan, Castellitto, Agostinelli, Orlando.
Format : 3 CD
Total Time : 02:37:39

Recording : 22-25/11/2013
Location : Atri
Country : Italie

Label : Brilliant Classics
Catalog No. : BRIL95766
EAN : 5028421957661
Price Code : DM013A

Publishing Year : 2019
Release Date : 05/06/2019

Genre : Classical
Serguei Ivanovitch Taneiev (1856-1915)
Sonate pour violon en la mineur
Trio pour piano en ré majeur, op. 22
Quatuor avec piano en mi majeur, op. 20
Quintette avec piano en sol mineur, op. 30

Alessandro Deljavan, piano
Daniele Orlando, violon
Daniela Cammarano, violon
Paolo Castellito, alto
Andrea Agostinelli, violoncelle

A major set of Russian-Romantic chamber masterpieces in powerfully compelling new recordings. Often known as ‘the Russian Brahms’, Sergei Taneyev has inspired devoted advocacy in musicians from Igor Oistrakh to Mikhail Pletnev and Steven Isserlis. Yet his music remains under-recorded and underappreciated, which is all the more curious in the case of his output for chamber music where he most nearly lives up to that unfair nickname. Aside from the late Violin Sonata, elliptical and no less Brahmsian in its way than its companions, all these works are conceived on a grand scale, abundant in soaring melody and impassioned lyricism, playing always to the strengths of their instrumentation and demanding the utmost in energy and commitment from their performers. Composed first, the Piano Quartet is dark and densely textured like its companions, but it also makes the warmest and most loving embrace of the listener, from the piano’s opening outburst of passion onwards. In the right hands this is music it’s impossible not to love – and hard to forget, too, in the case of the Adagio’s yearning main theme. The Piano Trio emulates not only Taneyev’s friend Tchaikovsky but older German models, Beethoven in particular, with its independence of parts where the piano stands as first among equals. By turns impetuous and imperial, the Trio gives the lie to the old idea of Taneyev as presenting a sternly unyielding countenance. Perhaps the most fully formed of this magnificent quartet is the Piano Quintet, where a Mendelssohnian lightness of touch in the Scherzo and finale counterbalances Taneyev at his most intense and contrapuntally driven in the huge opening Allegro.

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