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Classical Chrome - Haydn 






 

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HOB 15

HOB 17

HOB 16

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Classical Chrome - Haydn

Flute Trios

 

Douglas Mews

Fortepiano

Penelope Evison

Six-keyed Flute

Euan Murdoch

Classical Cello

 NZD $22.95 for NZ customers

( international customers can purchase
this cd and downloads from CD Baby at
http://www.cdbaby.com/cd/classicalchrome )

 

Polished Chrome – Haydn in top Form

Review of Haydn Flute Trios performed by Classical Chrome

Critic : Rod Biss in Sunday Star Times , Auckland , 7th December 2003

This disc is a delight – make a note of it as a potential Christmas Gift for anyone
interested in 18th-Century music . And intriguingly , although it’s by a major composer ,

Joseph Haydn , the chances are you’ve never heard it before.

The artists , Classical Chrome – Douglas Mews , Penelope Evison , and Euan Murdoch –

are a polished New Zealand Group which specialises in performing music
of the baroque and classical periods on authentic instruments . The “Chrome” in their

name refers not to their undoubted polish but to the chromatic colour they find in the

music they perform . Their aim , they say , is “to refresh the colours of this music , allowing

it to speak with its own voice on period instruments” , and they succeed brilliantly .

Mews is a sensitive fortepiano player who gets beautifully shaded phrases and

accompaniment figures from the modern reproduction of the Viennese instrument of 1798

which he plays . Evison provides an elegant , honey-toned top line on the six-keyed flute ,

which is also a reproduction of a period instrument . Murdoch’s cello line , played on a genuine

classical cello of 1770 is always tactful and alert in the way he moves from background to

foreground , from bass line to inner part to melody . The trios are recorded in the Adam Concert

Room at Victoria University ; it’s a reasonably dry acoustic but the recording engineers found an

appropriate amount of liveliness and have also kept the natural clarity .

These trios all date from the composer’s maturity in the early 1790s , which was when he was

writing the London symphonies that most people know well . Dates are important here as they

tell that you can expect exciting use of sonata form in the first movements , with quite lengthy

and discursive development sections .

The slow movements of the first and third trios are charming and delicate , more in keeping

with earlier Haydn , and the finales of the third trio is particularly light-hearted and infectious ,

a track that speeds past leaving you breathless and reaching for the replay button . The second

trio is a more slender two-movement work but no less valuable than its companions .

These three trios are so poised and sophisticated , yet also instantly appealing , that it is hard

to understand why there have been seldom heard in the concert hall . The answer I imagine , is

the unusual combination of instruments – much less common that the string quartet or the piano

trio with violin . But the sound of these three instruments is ideal for listening to at home – the

dimensions of the sound seem to be perfectly suited to a present-day living room – so why wait?
 


 

 


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