Franz Schubert - Ludwig van Beethoven (Remastered) Trio di Fiesole, Piero Farulli, Franco Petracchi

• Franz Schubert (1797 - 1828): Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota”:
• 1 Schubert: Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota”: Allegro Vivace 14:12
• 2 Schubert: Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota”: Andante 06:55
• 3 Schubert: Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota”: Scherzo Presto 04:07
• 4 Schubert: Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota”: Tema Andantino, Variazioni 1/5, Allegretto 07:46
• 5 Schubert: Quintetto per pianoforte, violino, violoncello e contrabbasso in la maggiore, op. 114 (D. 667) “La Trota”: Finale Allegro giusto 06:46
• Ludwig van Beethoven (1770 - 1827): Trio per pianoforte, violino e violoncello n. 4 in re maggiore, op. 70 n. 1 “Trio degli spettri”:
• 6 van Beethoven: Trio per pianoforte, violino e violoncello n. 4 in re maggiore, op. 70 n. 1 “Trio degli spettri”: Allegro vivace e con brio 06:56
• 7 van Beethoven: Trio per pianoforte, violino e violoncello n. 4 in re maggiore, op. 70 n. 1 “Trio degli spettri”: Largo assai ed espressivo 09:55
• 8 van Beethoven: Trio per pianoforte, violino e violoncello n. 4 in re maggiore, op. 70 n. 1 “Trio degli spettri”: Presto 08:12
• Total Runtime 01:04:49

Info zu Franz Schubert - Ludwig van Beethoven (Remastered)

The Quintet with pianoforte in La major, op. 114 (D.667) "The Trout" constitutes, together with two trios with pianoforte op. 99 and op. 100 and two lesser-known works, Schubert's contribution to music for chamber groups with pianoforte. In this passage associated with the pianoforte is the violin, the viola, the violoncello and the double-bass. The rather unusual organic instrumentation, it seems, was suggested by the purchaser and dedicated patron of the Quintet, Sylvester Paumgartner. Schubert had met this music-lover and amateur violoncellist in the summer of 1819 at Steyr during a holiday spent in Styria with the singer Vogl. It seems that in Paumgartner's house, they together with other friends, executed the Quintet in Mi flat minor by Johann Nepomuk Hummel, in which the second violin is substituted by the double-bass. Schubert terminated the composition during the year 1819. Shortly after his death, Vogl attracted the attention of the editor Czemy to the existence of said work, which was published at Vienna in 1829. Also the subdivision of the Quintet in five movements, with every probability, is due to the desire expressed by Paumgartner to have a part which is in variable forms for his preferred "lied" (Tune): Die Forelle (The Trout) which Schubert composed in 1817. However, when listening to the quintet, it would be opportune for the just appreciation of the opera, to not lose sight of the circumstances which determined its creation. It is a matter of not overvalueing, to the detriment of the other movements, the fourth part which indeed contains the instrumental version of the well-known Lied Tune). ...

Beethoven's potent phantasy, by now enclosed within the walls of his deafness, created two masterpieces in 1808 in which the sublimity of sound is reached: Symphony N.6 in Fa major "Pastorale”. Above all we may recall the Andante molto mosso entitled "Szene am Bach" and the Trio n.1 of the opera 70, "Geistertrio”. The scheme of the first part of the Trio op.70 N. 1 is that classic one of the forma-sonata: first theme - secondary theme - development - resumption. Only that, Beethoven enriches it to such a degree that - one may say that he flings into it handfulls of those sonorific figures, for the greater part deriving from thematic material -that the only remains of the theme is the function of the ruled lines; a pathway for finding one's direction in those intricate meanders which vein the Allegro vivace e con brio. At the start of the first part, the principle theme arises in the first four beats with energetic gesture of all the instruments in unison on four octaves. In the seventh and eighth beat, only the violoncello presents p dolce, the secondary theme. A transitional modulation conveys to the tonality of Si flat major already adumbrated in the "Fa naturale" which appears after the exposition of the principal theme. The "Allegro" is subdivided into two parts, the first part having a simpler composition; the other more complex. Whilst in the first part only the canonic imitation of the second theme appears, in the second part a refined counterpointistic play starts and continues right up to the return of the principle theme in Re major. ...

Piero Farulli, viola
Franco Petracchi, double bass

Digitally remastered

Please Note: We offer this album in its native sampling rate of 48 kHz, 24-bit. The provided 96 kHz version was up-sampled and offers no audible value!

Trio di Fiesole
is a chamber-music group, which from their artistic preparation and instrumental quality, have succeeded after only a few years in gaining a space in the world of concert. They have obtained numerous and prestigious acknowledgments in reviews and competitions for chamber groups; one of which was the first prize of the 1975 Sergio Lorenzi Competition, awarded by the Accademia Musicale Chigiana di Siena, which was conferred on the three participants; the Diploma d'Onore for the School of chamber-music and first prize for the 1977 "V. Gui" Competition for chamber-music groups. The Trio di Fiesole has been active for more than ten years and has carried out an intense concertistic activity. In Italy, the group has been guest several times of the most important concertistic companies and lyrical organizations. Abroad they gained overwhelming ovation from the public and the critics at the Basel Stadtcasino; at the Hamburg Musikhalle; at the Amsterdam Concertgebouw and in other European cities. The Trio di Fiesole has recorded two compact-disks, the first dedicated to Brahms' opera N.8 and the second to Schubert's opera N.100.

Piero Farulli
is a teacher and viola player of international fame. He was born at Florence in 1920. He completed his studies with GioacchinoMaglioni at the Luigi Cherubini State Conservatory in his own city, where he was a teacher of viola later from 1957 to 1977. For more than thirty years he was part of the QuartettoItaliano, contributing with intransigent faithful rigour to the success of this group, whose executions by now form part of the history of the world's great quartet interpretations. For this, he and his colleagues, received the most coveted acknowledgments; in particular, the gold medal for outstanding accomplishment for school, culture and art, awarded by the President of the Republic. Successively, he collaborated with the Amadeus Quartet, the Alban Berg Quartet, with the harpsichord player Daniel Chorzempaand also plays in fraternal collaboration with the Trio di Trieste. In 1984, together with the violinists Chiarappa and Tacchi, and the violoncellist Nannoni, he founded the Nuovo Quartetto. Qualified teacher of quartet at the Accademia Musicale Chigiana di Siena; also at the Scuola di Musica di Fiesole, he has been Gastprofessor at the SalisburgMozarteum for viola. He was several times member of commissions for international competitions such as the Quartet of the Prague Festival, the London Tertis, and the Moscow Ciaikowsky. His presence in Tuscany has considerably influenced many cultural initiatives in the sphere of music. He was ideator and artistic director of "I Concerti dellaNormale" for twenty years.

Franco Petracchi
gained his diploma at S. Cecilia in Rome with Battistelli, also dedicating himself to composition and as conductor of orchestra with Franco Ferrara. He held concerts in all the most important halls of the world. The critics consider him to be not only one of the greatest concertists of our time but also a virtuoso of his instrument. He is teacher of the Accademia Musicale Chigiana di Siena and regular teacher for the chair of "Virtuosismo" at Genevre Conservatory. He is also one of the founders of the Cremona "Stauffer" Courses and has held courses and "Master Class" in all the world. His Sermoneta course is famous. Many composers have dedicated their work to him. Amongst these: the works of Rota, Mortari and Donatoni have had particular success. He successfully carries out an intense activity as conductor. In fact, he has conducted in Denmark, Poland, Bulgary, Switzerland, England, Scotland, Sweden and in Italy at Rome; S. Cecilia, Rai, Filarmonica, the Rossini Festival at Pesaro, S. Carlo at Naples and the Rai at Turin. He has won the prize "Premio Italia" for the musical part for broadcasting "Un contrabbasso in cercad'amore" (A double-bass searching for love) and he is the author of numerous revisions and re-elaborations. He also carries out an intense chamber-music activity with the most prestigious names of the concert world (Festivals at Naples, Sarasota, Cremona). He plays in duo with Filippini and in trio with Stefanato - Barton. He has made recordings for Philips, Columbia and Dynamic.

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