Richard Stöhr: Chamber Music, Volume Two
Like Korngold, Toch, Schoenberg, Zeisl and Zemlinsky, Richard Stöhr (1874–1967) was another Austrian composer driven into American exile by the Nazis. His generous output of music – ripe for rediscovery – includes seven symphonies, fifteen violin sonatas among much other chamber music, songs, and choral and piano pieces. His expansive E flat Piano Trio of 1905 sits firmly in the Viennese Romantic tradition downstream from Schubert and Brahms, with one lovely tune following another, whereas the Three Songs, written only four years later, look forward to the lyrical intensity of Korngold.
Laura Roelofs, violin (Tracks 1-4)
Stefan Koch, cello
Mary Siciliano, piano
Seth Keeton, bass-baritone (Tracks 5-7)
Listen To This Recording:
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Piano Trio in E at major, Op. 16 (1905)
- I. Allegro
- II. Andante, tempo di marcia
- III. Scherzo (Presto); Trio (Sehr langsam)
- IV. Finale: Grave e maëstoso – Allegro grazioso
- No. 1 Gebet
- No. 2 Ward der Abend regenmüd
- No. 3 Dem aufgehende Vollmonde
Three Songs, for Low Voice and Piano with Cello Accompaniment, Op. 21 (1909)
FIRST RECORDINGS
Classical Lost and Found :
‘Violinist Laura Roelofs, cellist Stefen Koch and pianist Mary Siciliano give a committed, sensitive performance of the Trio, making a strong case for this unjustly neglected work. Ms. Roelofs is replaced by bass-baritone Stefan Keeton for the Drei Lieder…, which he sings to perfection. […]
The string tone is natural with the piano convincingly captured, and Mr. Keeton comes across very effectively. What’s more, a good balance between the musicians prevails throughout.’
—Bob McQuiston, Classical Lost and Found
MusicWeb International :
‘In any case [The Three Songs] are attractively contrastive songs. The first is a warmly textured, deft at word-setting and strong on the contemplative. The central song leaves less of an impression, whilst the third song, a setting of Goethe’s Dem aufgehenden Vollmonde, is by some way the best. It has more psychological depth, more expressive heft, and a more confident sense of place.[…]
The notes are good. The Trio was recorded over five sessions six or so months apart. The recording is perfectly fine and the performance nimble and light. Seth Keeton copes well with the songs, though there are hints of strain at a few points in the Goethe setting. Throughout Mary Siciliano gives sympathetic support.’
—Jonathan Woolf, MusicWeb International