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Erich Höbarth, Alexander Rudin, Aapo Häkkinen - Schubert: Piano Trio No.2; Arpeggione Sonata (2021)

Posted By: ArlegZ
Erich Höbarth, Alexander Rudin, Aapo Häkkinen - Schubert: Piano Trio No.2; Arpeggione Sonata (2021)

Erich Höbarth, Alexander Rudin, Aapo Häkkinen - Schubert: Piano Trio No.2; Arpeggione Sonata (2021)
EAC | FLAC | Image (Cue & Log) ~ 375 Mb | Total time: 79:55 | Scans included
Classical | Label: Naxos | # 8.573884 | Recorded: 2019

A nod toward historical authenticity is de rigueur in many kinds of performances, but performances of Schubert's Arpeggione Sonata in A minor, D. 821, on the instrument for which it was written are rare indeed. The performer who wants to undertake one faces several obstacles. Few examples of the arpeggione exist; the instrument was invented in Vienna in 1823 but quickly fell out of fashion. That might have been because, with six strings (it is something like a bowed guitar), it is quite difficult to play, and Schubert's sonata is the only major work written for it. Yet the instrument has a truly lovely voice, gentle and songful in its upper register where a cellist really has to bear down. Cellist Alexander Rudin has mastered its intricacies here, and the work emerges as quite idiomatically written for its instrument, not at all as a novelty.

Erich Höbarth, Alexander Rudin & Aapo Häkkinen - Schubert: Chamber Works (2021)

Posted By: delpotro
Erich Höbarth, Alexander Rudin & Aapo Häkkinen - Schubert: Chamber Works (2021)

Erich Höbarth, Alexander Rudin & Aapo Häkkinen - Schubert: Chamber Works (2021)
WEB FLAC (tracks) - 366 Mb | MP3 CBR 320 kbps - 189 Mb | Digital booklet | 01:19:51
Classical | Label: Naxos Records

Schubert’s Arpeggione Sonata has today become part of the cello repertoire but it was originally written for the arpeggione, a form of bowed guitar invented by the Viennese maker Johann Georg Staufer in 1823. With a unique ethereal sound, this instrument reveals the true beauty of Schubert’s initial conception. The Piano Trio No. 2 was performed at the Vienna Musikverein on the first anniversary of Beethoven’s death—its extremes of urgent drama and sublime bittersweet lyricism are characteristic of Schubert’s artistic surge during his final year.