Widor Chamber Music with piano
View record and artist detailsRecord and Artist Details
Composer or Director: Charles-Marie(-Jean-Albert) Widor
Label: Marco Polo
Magazine Review Date: 11/1989
Media Format: CD or Download
Media Runtime: 61
Mastering:
DDD
Catalogue Number: 8 223193
Tracks:
Composition | Artist Credit |
---|---|
Piano Trio |
Charles-Marie(-Jean-Albert) Widor, Composer
Charles-Marie(-Jean-Albert) Widor, Composer Ilona Prunyi, Piano New Budapest Quartet |
Piano Quintet No. 1 |
Charles-Marie(-Jean-Albert) Widor, Composer
Charles-Marie(-Jean-Albert) Widor, Composer Ilona Prunyi, Piano New Budapest Quartet |
Author: Christopher Headington
Yes, Charles-Marie Widor (1844–1937) did find some time in his long life to write other music besides the celebrated Toccata from the Fifth Organ Symphony that has graced many a wedding, and here are a Piano Trio and Piano Quintet (the latter dedicated to Gounod) to prove it. One couldn't go as far as to say that these works represent a great discovery; indeed, I may as well suggest that they don't, being for the most part not much more than fluent and agreeable, lacking a clear personality. They are worth hearing though, and the performances by Hungarian artists seem (I have not seen a score) to be perfectly serviceable if once again not much more than that: one looks for more Gallic charm.
Unfortunately the recording, although digital and dating from 1988, is not very good by today's standards, with sound that seems two-dimensional and some rather harsh tone especially from the piano in louder passages. But it does not stand in the way of the music, and certainly the issue is worth investigating if you are interested in this composer and this area of the French chamber music repertory. I fear that my review reads as rather luke-warm, and I cannot bring myself to greater enthusiasm, especially when the disc is at full price. But those who expect to be interested in the two works that are performed here should not be disappointed. Others, however, would be well advised to sample before purchasing.'
Unfortunately the recording, although digital and dating from 1988, is not very good by today's standards, with sound that seems two-dimensional and some rather harsh tone especially from the piano in louder passages. But it does not stand in the way of the music, and certainly the issue is worth investigating if you are interested in this composer and this area of the French chamber music repertory. I fear that my review reads as rather luke-warm, and I cannot bring myself to greater enthusiasm, especially when the disc is at full price. But those who expect to be interested in the two works that are performed here should not be disappointed. Others, however, would be well advised to sample before purchasing.'
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