Ernö Dohnányi - Serenade for String Trio, Op. 10

[@mylesjordan9970]

Terrific! This work’s Scherzo is pretty closely based on the fugue from Beethoven’s String Quartet Op. 59 #3, both of which are pretty fast. Problems inevitably surface in the bow arm when the tempo gets faster than about 126-132, especially in those chromatic descending sequences, but there’s a really easy way around them. If you always keep the RIGHT arm motion in consistent, tiny clockwise circles over two strings, in groups of two rather than the threes that are written, then the left hand goes down the fingerboard very easily in fourths or in thirds-even when switching between intervals during the same sequence-but when the bow’s circles stay automatic, you can suddenly go like the wind.

[@orbitingcomic]

My new favorite recording of this! Glad you uploaded.

[@xris9593]

Lovely performance, crisp and clean as needed, beautifully rich warm and romantically projected too, with subtle micro-timings :-) Bravo the violist, great sound, luscious low range, solid technique. Oh how much I loved playing that solo that starts shortly after 12:18

[@xris9593]

and again at 15:35-ish... oh, your playing is just so lovely!

[@xris9593]

not to mention 2:26...

[@michaels7889]

A thoroughly enjoyable youthful interpretation

[@hokulealinda]

Beautiful !!!!!!!

[@verenaseba]

11:34 4th movement

[@sophiegardiner276]

17:45 fifth mvt

[@carliet.6400]

I play the viola part for this piece, and for me it’s so difficult but I somehow manage. We also have to rehearse on FaceTime so it’s so difficult to rehearse together!

[@tomteague5047]

I agree. It's a silly gimmick. If you close your eyes, you can't tell whether the players are standing or sitting. Far better for all three to sit - communication is far easier. I speak as a chamber musician of more than 50 years' experience.

[@xris9593]

PS re the seated/standing discussion--entirely likely they rehearse seated. Once the signals are in place, position makes little difference. String players are used to having folks around them seated, conductors standing higher up on podium, etc--the ears, eyes, go everywhere and anywhere, along with the intuitive antennae... :-)

[@whpalmer4]

Actually, the standing vs. sitting makes a difference in the sound production (most are better standing) and consequently rehearsing is done standing. No one rehearses sonatas or concertos seated for a performance where they will stand.

[@Gaccie]

3:33

[@b.michaelphillips8178]

Why did the group decide to have the violin and Viola stand? Wouldn’t that make it harder to communicate with each other?

[@tomteague5047]

A good question, but not really. In practice, good chamber music players communicate aurally rather than visually. Any visual communication is corner of the eye stuff anyway. All the same, my personal preference is to have all three players seated. As it happens, I played this work last night, and all three of us sat down.

[@JRBRyt]

pog

[@borisbadenov651]

'Twould be more Elegant with ties. Casualness is retrogressive and distracting.

[@amandadurst1745]

Lol nerd

[@stijn4687]

Elegance comes with attitude not with a tie Playing with a tie you become heated and sweat is musician's enemy.. I play in European orchestra, and this is changing now, is a good thing

[@onlyrealtalentedartists]

@@stijn4687 I play now with black shirt and black suit no tie, is elegant and most confortable for chamber music