Baroque - Eroica Trio
An unashamedly populist interpretation of baroque works, including an arrangement by a modern film composer, wrapped up in wickedly glossy packaging
View record and artist detailsRecord and Artist Details
Composer or Director: Jean Baptiste Loeillet, Antonio Lotti, Antonio Vivaldi, Dietrich Buxtehude, Tomaso Giovanni Albinoni, Johann Sebastian Bach
Label: EMI Classics
Magazine Review Date: 6/2000
Media Format: CD or Download
Media Runtime: 57
Mastering:
DDD
Catalogue Number: 556873-2
Tracks:
Composition | Artist Credit |
---|---|
Trio Sonata for Violin, Cello and Continuo |
Antonio Vivaldi, Composer
Adela Peña, Violin Antonio Vivaldi, Composer Erika Nickrenz, Piano Sara Sant'Ambrogio, Cello |
Sonata |
Jean Baptiste Loeillet, Composer
Adela Peña, Violin Erika Nickrenz, Piano Jean Baptiste Loeillet, Composer Sara Sant'Ambrogio, Cello |
(3) Sonatas and 3 Partitas, Movement: Partita No. 2 in D minor, BWV1004 |
Johann Sebastian Bach, Composer
Adela Peña, Violin Erika Nickrenz, Piano Johann Sebastian Bach, Composer Sara Sant'Ambrogio, Cello |
(7) Sonatas, Movement: D, BuxWV260 |
Dietrich Buxtehude, Composer
Adela Peña, Violin Dietrich Buxtehude, Composer Erika Nickrenz, Piano Sara Sant'Ambrogio, Cello |
Trio Sonata for Violin, Cello and Keyboards |
Antonio Lotti, Composer
Adela Peña, Violin Antonio Lotti, Composer Erika Nickrenz, Piano Sara Sant'Ambrogio, Cello |
Adagio |
Tomaso Giovanni Albinoni, Composer
Adela Peña, Violin Erika Nickrenz, Piano Sara Sant'Ambrogio, Cello Tomaso Giovanni Albinoni, Composer |
Author: John Duarte
The presence of the piano in place of a harpsichord evokes visions of the Bath Pump Room Trio, despite which the Vivaldi and Loeillet pass agreeably enough, the string players respectfully eschewing full-blown vibrato. The Chaconne arrives in an 'orchestrated' arrangement by Anne Dudley, who treats it to 'the full monty' - for which film she wrote the soundtrack. My readiness to accept it as one more interesting possible face of the masterpiece faded with the violin cadenza that Bach omitted to insert immediately before the final statement of the theme. Buxtehude and Lotti go the same pleasant but less than riveting way as Vivaldi and Loeillet, but with the arrival of the Adagio of Albinoni/Giazotto the image of the Pump Room Trio finally emerges in full focus and one can almost hear the sounds of tea and scones being consumed in the background. Definitely not for serious lovers of baroque music, but others might be tempted by the view of the three attractive young ladies on the cover of the insert-notes: and then, who knows?
'
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