This first album from the Van Baerle Trio enables the listener to make a comparison between these two great French composers, with an important supporting role being allotted to the Dutch composer Theo Loevendie, whose open-mindedness and ability to absorb multiple musical influences is always a guarantee of a stimulating musical experience for the listener.
“We are always somewhat cerebral, but within that framework, we are frequently able to reach perfection” stated Maurice Ravel about French artists in an interview with a Madrid newspaper in 1924. Such a characterization was true not only for Ravel but also for his colleague Camille Saint-Saëns, who had continued to stress the importance of musical form throughout his long career and as a result had fallen from critical favor. Ravel, however, admired Saint-Saëns; they were artistically related in that Ravel’s own composition teacher was Gabriel Fauré, who had himself been a pupil and protégé of Saint-Saëns.
Van Baerle Trio
Hannes Minnaar, Piano
Maria Milstein, Violin
Gideon den Herder, Cello
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 00:01:00
Additional information
| Label | |
|---|---|
| SKU | KTC1438 |
| Qualities | |
| Channels | 2ch Stereo, 5 Channel Surround Sound, 2ch Stereo & 5ch Surround |
| Artists | |
| Composers | |
| Genres | |
| Digital Converters | dCS DSD a/D |
| Mixing Board | Rens Heijnis custom made |
| Instruments | |
| Original Recording Format | |
| Producer | Tom Peeters |
| Recording Engineer | Tom Peeters, Rico Yntema |
| Recording location | Philipshall, Eindhoven Holland |
| Recording Software | Merging |
| Recording Type & Bit Rate | DSD64 |
| Release Date | June 27, 2015 |
Press reviews
Gramophone
“Ravel, it seems, made a careful study of the piano trios of Saint-Saëns before embarking on his own in 1914. There was no question of any similarity of idiom; what Ravel wanted to know was how best to balance the instruments, notably the violin and the cello. That link gives point to this coupling.
The two string instruments are beautifully matched in both works, carolling above the firm foundation of the piano. What is striking about Minnaar’s brilliant playing is the clarity even in the most elaborate textures. In the Saint-Saëns that gives a delightful lift to the performances of all the fast movements. The pizzicato pay-off to the third movement’s presto Scherzo in a galloping 6/8 is a delight, as are many other moments.
The players of the Van Baerle Trio play The Ackermusik with a rare intensity. Clear, transparent sound with the closeness of the piano not too distracting.”
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