The Vivaldi Project - Discovering the Classical String Trio, Vol. 4 (2024)

Tracklist

01. Sonata in F Minor Op. 1, No. 6: I. Lento
02. Sonata in F Minor Op. 1, No. 6 II. Menuetto (Allegretto)
03. Divertimento in G Major, H.V:20: I. Allegro
04. Divertimento in G Major, H.V:20: II. Menuet – Trio
05. Divertimento in G Major, H.V:20: III. Presto
06. Sonata in F Major, B. 40: I. Larghetto
07. Sonata in F Major, B. 40: II. Tempo di menuetto – Trio
08. Trio in F Minor, Op. 5, No. 6: I. Maestoso
09. Trio in F Minor, Op. 5, No. 6: II. Andante
10. Trio in F Minor, Op. 5, No. 6: III. Presto con fuoco
11. Trio in C Minor, Op. 14, No. 2: I. Allegro moderato
12. Trio in C Minor, Op. 14, No. 2: II. Adagio – Tempo di Menuetto – Trio
13. Trio in C Minor, Op. 14, No. 2: III. Prestissimo
14. Trio in G Major, Op. 11, No. 3: I. Andante con espressivo
15. Trio in G Major, Op. 11, No. 3: II. Adagio
16. Trio in G Major, Op. 11, No. 3: III. Allegro scherzando
17. Trio in B-Flat Major: I. Allegro non tanto
18. Trio in B-Flat Major: II. Adagio
19. Trio in B-Flat Major: III. Allegro assai

The Vivaldi Project’s interest in the Classical string trio began with a simple question casually posed by the distinguished Haydn scholar James Webster: “Why is it that Haydn’s string trios are never played?” This prompted our own questions: “Haydn wrote string trios?” Hmm . . . Beethoven wrote a few trios . . . and Mozart wrote that really big Divertimento in E-flat major . . . . “Are there other Classical string trios we don’t know about?” Four volumes (and 28 trios) into the present recording series, we continue to be astounded by the sheer wealth and stylistic variety of the Classical string trio repertoire. The genre includes thousands of works by hundreds of composers, rediscovered trios emerging regularly from within library archives and private collections around the world. Our aim throughout the series has been to present rare works, often by virtually unknown composers, juxtaposed with those of familiar composers, yet whose trios have been overlooked in favor of more standard genres (like the string quartet and piano trio). The result, we believe, offers an important window into a neglected genre amid the rich, eclectic world of chamber music in the latter half of the 18th century.

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