Brahms: Horn Trio Op. 40, Violin Sonata Op. 78, Fantasies Op. 11... Cover Art

Brahms: Horn Trio Op. 40, Violin Sonata Op. 78, Fantasies Op. 116 (CD)

By: Alexander Melnikov (Performer), Isabelle Faust (Performer) and Theunis Van der Zwart (Performer)


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DISC 1 for Brahms: Horn Trio Op. 40, Violin Sonata Op. 78, Fantasies Op. 116 (CD) Album By Alexander Melnikov (Performer) Amazon.com iTunes
1   Trio for violin, horn and piano in E flat major, Op. 40: I. Andante - Poco più animato Buy Buy
2   Trio for violin, horn and piano in E flat major, Op. 40: II. Scherzo. Allegro - Molto meno Allegro Buy Buy
3   Trio for violin, horn and piano in E flat major, Op. 40: III. Adagio mesto Buy Buy
4   Trio for violin, horn and piano in E flat major, Op. 40: IV. Finale. Allegro con brio Buy Buy
5   Sonata for violin and piano No. 1 in G major, Op. 78: I. Vivace ma non troppo Buy Buy
6   Sonata for violin and piano No. 1 in G major, Op. 78: II. Adagio Buy Buy
7   Sonata for violin and piano No. 1 in G major, Op. 78: III. Allegro molto moderato Buy Buy
8   7 Fantasien, Op. 116: I. Capriccio. Presto energico - D minor Buy Buy
9   7 Fantasien, Op. 116: II. Intermezzo. Andante - A minor Buy Buy
10   7 Fantasien, Op. 116: III. Capriccio. Allegro passionato - G minor Buy Buy
11   7 Fantasien, Op. 116: IV. Intermezzo. Adagio - E major Buy Buy
12   7 Fantasien, Op. 116: V. Intermezzo. Andante con grazia ed intimissimo sentimento - E minor Buy Buy
13   7 Fantasien, Op. 116: VI. Intermezzo. Andantino teneramente - E major Buy Buy

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Album Description

Brahms was especially fond of the sound of the natural horn, which he saw as teh embodiment of Romantic lyicism. Although the valve horn had begun to replace it in the early 19th century, it was for the older instrument, the Waldhorn, that he wrote his Trio op. 40, today still the summit of the repertoire for its unusual forces. Here three young musicians have attempted to reconstruct the trio''s original sound as precisely as possible.


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Brahms was especially fond of the sound of the natural horn, which he saw as the embodiment of Romantic lyricism. Although the valve horn had begun to replace it in the early 19th century, it was for the older instrument, the Waldhorn, that he wrote his Trio op.40, today still the summit of the repertoire for its unusual forces. Here three young musicians have attempted to reconstruct the trio’s original sound as precisely as possible.



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