Fauré, Gabriel - Piano Trio in D Minor, Op. 120, N 194 - Piano, Violin, and Cello - edited by Sobaskie - Barenreiter Urtext
Fauré, Gabriel - Piano Trio in D Minor, Op. 120, N 194 - Piano, Violin, and Cello - edited by Sobaskie - Barenreiter Urtext
Gabriel Fauré’s Piano Trio, his penultimate work, was composed in 1922-23 and published in June 1923. The three-movement work clearly shows Fauré’s ability to combine a transparent texture with charming and elegant themes.
Until now the composition has always presented musicians with considerable problems as the score offers conflicting readings when compared with the separate string parts. Without reliable information on the different readings, important basic information for an appropriate interpretation of the work has been lacking.
Bärenreiter’s first ever critical edition of this masterpiece finally unites the parts with the score. All variants appear in the critical commentary to the corresponding complete edition volume of “the Complete Works of Gabriel Fauré”.
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Fauré, Gabriel - Piano Trio in D Minor, Op. 120, N 194 - Piano, Violin, and Cello - edited by Sobaskie - Barenreiter Urtext
Gabriel Fauré’s Piano Trio, his penultimate work, was composed in 1922-23 and published in June 1923. The three-movement work clearly shows Fauré’s ability to combine a transparent texture with charming and elegant themes.
Until now the composition has always presented musicians with considerable problems as the score offers conflicting readings when compared with the separate string parts. Without reliable information on the different readings, important basic information for an appropriate interpretation of the work has been lacking.
Bärenreiter’s first ever critical edition of this masterpiece finally unites the parts with the score. All variants appear in the critical commentary to the corresponding complete edition volume of “the Complete Works of Gabriel Fauré”.
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Gabriel Fauré’s Piano Trio, his penultimate work, was composed in 1922-23 and published in June 1923. The three-movement work clearly shows Fauré’s ability to combine a transparent texture with charming and elegant themes.
Until now the composition has always presented musicians with considerable problems as the score offers conflicting readings when compared with the separate string parts. Without reliable information on the different readings, important basic information for an appropriate interpretation of the work has been lacking.
Bärenreiter’s first ever critical edition of this masterpiece finally unites the parts with the score. All variants appear in the critical commentary to the corresponding complete edition volume of “the Complete Works of Gabriel Fauré”.
