Tabea Tsuimmaaman、Jean-Guihen Queyras、Habieru Pe Rianesu - Brahms: Trio; Robert & Clara Schumann: Romance - Import CD

Credits:

Tabea Tsuimmaaman、Jean-Guihen Queyras、Habieru Pe Rianesu

Description:

The Queen of the Viola, Tabea Zimmermann Featuring recordings of Brahms, Robert & Clara Schumann, and Joachim! A passionate tone and powerful music that cut to the very heart of the music Keras also joins as a guest on the trio tracks! An album by the Queen of the Viola, Tabea Zimmermann, is now available. While the album includes many works originally written for violin, Tabea Zimmermann delivers a performance in every piece that is uniquely her own—filled with intense passion and conviction. With unparalleled persuasiveness and power, she penetrates to the very essence of the music. The piano tones and rhythmic sensibility of Spanish pianist Javier Perianes, who has also recorded with Tabea Zimmermann, shine throughout. In the viola version of the Clarinet Trio—arranged by Brahms himself—Jean-Guihen Queyras, one of today’s foremost virtuosos, takes on the cello part. Tabea and Queyras have performed together in ensembles for many years, and here, as if responding to Tabea’s powerful music, Queyras delivers a passionate performance that cuts to the heart of the work. Perianes’s rhythmically precise piano playing further heightens the intensity of this passionately surging ensemble. This program is also a story of encounters and deep, enduring friendships. While the connection between Brahms and the Schumanns is well known, one of the people who encouraged Brahms to meet them was the genius violinist Joseph Joachim, who later became a passionate advocate for Brahms. Furthermore, Schumann’s students Dietrich and Robert, along with Brahms, divided the opening F.A.E. Sonata into movements and collaborated on its composition, dedicating it to Joachim. It is well known that Brahms was captivated by the clarinet in his later years, but the instrument that had long held his fascination was the viola. Both of his two string sextets and two string quintets require two violas. Furthermore, in the Serenade No. 2, Op. 16, and the opening movement of the “German Requiem,” he deliberately omitted the violin to highlight the soft lyricism of the viola. The viola versions of the Clarinet Trio and the Clarinet Sonata are believed to have been created for practical reasons—such as allowing Clara and Joachim to perform them even when Mühlfeld was absent, and to boost the publisher’s sales—yet the music sounds just as compelling on either instrument. Clara’s *Three Romances*, Op. 22, was composed in July 1853 and dedicated to Joachim “with deep friendship” following a performance in Düsseldorf in May of that year, where Joachim performed Beethoven’s Violin Concerto under Robert’s baton. At the end of the first movement, she also subtly incorporates a warm reference to Robert’s “Violin Sonata No. 1.” Joachim’s “Hebrew Melodies,” Op. 9, is a collection of three pieces. The first movement in G minor is characterized by broad phrases reminiscent of Brahms and Schumann, along with an accompaniment rich in syncopation. In the second movement, in C minor, a strong sense of Jewish melodic style is evident. The third movement, in F major, is notable for its long melodic lines, chromaticism, and flexible rhythms. HARMONIAMUNDI