G\u00e1l\u00a0\u00a0<\/b>Serenade<\/i>\u00a0<\/b>D dur, op. 41; Trio in F sharp major, op. 104;\u00a0Kr\u00e1sa<\/b>\u00a0Tanec<\/i>;\u00a0Passacaglia og Fuge<\/i><\/p>\n
Ensemble Epomeo<\/p>\n
Avie AV2259 (67 minutter)<\/p>\n
1 2 3 4 5\u00a06<\/b><\/p>\n
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“This disc of string trios presents two highly contrasted victims of Hitler. The music of Hans G\u00e1l (1890\u20131987), born just outside Vienna, embodies the virtues of Viennese tradition: it is elegant, cultured and effortlessly resourceful \u2013 G\u00e1l was both a natural lyricist and a natural contrapuntist, which means that his music appeals to heart and brain in equal measure. The\u00a0Serenade<\/i>\u00a0(1932) is full of understated energy, like happy Reger; by the time of the op. 104 Trio (1971), when G\u00e1l was 81, his music is suffused by a profound and gentle wisdom; the closing set of variations is masterly. I knew Hans G\u00e1l at the end of his long life. He told me once that his parents had taken him, when he was six, to hear one of Mahler\u2019s first performances at the Wiener Hofoper. \u2018But that was 1897\u2019, I gasped in astonishment, but he still remembered it clearly, and you have the same sense of stylistic continuity in his music. The raw energy in the two pieces by Hans Kr\u00e1sa (1899\u20131944), by contrast, indicate what was lost in October 1944 when, with his fellow composer-inmates from the ghetto of Terez\u00edn, he was bundled onto a transport to Auschwitz and gassed two days later. There\u2019s a rough-edged vitality here that reveals that the Jan\u00e1\u010dek tradition, in normal circumstances, would have had lots of life in it yet. Beautiful performances from the Ensemble Epomeo.”<\/p>\n
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