{"id":6305,"date":"2014-08-12T18:48:25","date_gmt":"2014-08-12T17:48:25","guid":{"rendered":"http:\/\/kennethwoods.net\/blog1\/?post_type=product&p=6305"},"modified":"2015-12-10T13:23:06","modified_gmt":"2015-12-10T12:23:06","slug":"ensemble-epomeo-hans-gal-and-hans-krasa-complete-string-trios","status":"publish","type":"product","link":"https:\/\/kennethwoods.net\/blog1\/product\/ensemble-epomeo-hans-gal-and-hans-krasa-complete-string-trios\/","title":{"rendered":"Ensemble Epomeo: Hans G\u00e1l and Hans Kr\u00e1sa- Complete String Trios"},"content":{"rendered":"

Hans Gal (1890-1987)<\/strong><\/p>\n

Serenade in D major, opus 41 (1931)<\/p>\n

Trio in F-sharp minor, opus 104 (1972)<\/p>\n

Hans Krasa (1899-1944)<\/strong><\/p>\n

Tanec (1943)<\/p>\n

Passacaglia and Fuge (1944)<\/p>\n

Ensemble Epomeo<\/a><\/strong><\/p>\n

Caroline Chin- violin, David Yang-viola, Kenneth Woods-cello<\/p>\n

Recorded in the Concert Hall, Millfield School, December 16-18, 2011<\/p>\n

Produced, engineered and edited by Simon Fox-Gal<\/p>\n

Avie Records<\/p>\n

RELEASE DATE- September 2012<\/p>\n

 <\/p>\n

Gramophone Critic\u2019s Choice\u00a0<\/strong>\u201cEnsemble Epomeo provide ravishing accounts of both Gal works, fully in sympathy with the idiom\u2026 \u00a0Even finer than their Nimbus rivals, Daniel Hope, Philip Dukes and Paul Watkins, with superior sound. A splendid disc I cannot get enough of.\u201d<\/em>
\nGuy Rickards, Gramophone Magazine<\/a>
\n<\/strong><\/p>\n

Recording of the Month<\/strong>\u00a0\u201cThe Ensemble Epomeo play all four compositions with huge commitment and brilliant flair revealing every nuance in four wonderful works for string trio. These can sit alongside anything written in this genre.\u00a0In every way this is a fantastic disc that listeners will want to hear again and again.\u201d<\/em>
\nSteve Arloff, MusicWeb International<\/strong><\/a><\/p>\n

\u201cEnsemble Epomeo capture the charm of G\u00e1l\u2019s delightful neo-Classical Serenade (1932) with a sense of line and subtlety of texture\u2026A warmly-recorded and thought-provoking disc.\u201d<\/em>
\nMatthew Rye, The Strad<\/strong><\/a><\/p>\n

\u201cVividly recorded, the three instrumentalists of Ensemble Epomeo \u2013 closely balanced in a slightly too big and resonant acoustic \u2013 play superbly individually and as a team and with obvious commitment; clearly Kenneth Woods\u2019s burgeoning conducting career is not to the detriment of his artistry on the cello.\u201d<\/em>
\nColin Anderson, The Classical Source<\/strong><\/a><\/p>\n

\u00a0\u201cKr\u00e1sa\u2019s Passacaglia and Fugue is a brilliant revelation, a savage takedown of artistic ideals in which order and luxuriance devolve into chaos. It\u2019s a compact, unforgettable masterpiece, and the Ensemble Epomeo \u2013 which includes Woods along with violinist\u00a0Caroline Chin<\/a>\u00a0and violist\u00a0David Yang<\/a>\u00a0– gives it a superb\u00a0performance.\u201d<\/em>
\nJoshua Kosman, San Francisco Chronicle<\/strong><\/a><\/p>\n

\u201cI place this new recording slightly above the Nimbus rival.. for the treatment of the Passacaglia.. where Woods and his colleagues, adopting a very broad tempo, discover even deeper refinements of instrumental tone and character in differentiating the individual variations. Indeed, all the performances radiate sympathy for the music and a focused intensity that bespeaks both familiarity with this out-of-the-way repertoire and considerable musicianship; these are not easy works to bring out in such vital and well-characterized interpretations. Avie\u2019s recording, too, is splendidly resonant and warm. A very recommendable disc for anyone interested in either composer.\u201d<\/em>
\nCalum MacDonald, International Record Review<\/a><\/strong><\/p>\n

\u201cWow\u201d
\nAndrew Patner, WFMT<\/a><\/strong><\/p>\n

\u201cEnsemble Epomeo does both composers a great service with their precise, lively and stylistically astute performances. The clarity in all the textures allows both men\u2019s contrapuntal innovations to shine through\u2026 the quality of these performances may help to initiate a new era in the reception of their works, and especially of G\u00e1l\u2019s. His Serenade definitely deserves a central place in the recital repertoire, even if it requires performances of this high standard to make its many qualities fully apparent.\u201d
\n<\/em>Gavin Dixon, Classical CD Reviews<\/strong><\/a><\/p>\n

\u00a0\u201cSound quality is very good. In their debut recording, Ensemble Epomeo (named after an Ischian mountain) are thoroughly convincing from beginning to end. Their sense of ensemble is democratic, their attention to the score attentive and respectful, and their tone warm and welcoming. Expressively they are as much at home with the elegant, small-R romantic classicism of G\u00e1l as with the more semantically ambiguous colourings of Kr\u00e1sa.\u201d<\/em>
\nByzantion, MusicWeb International<\/strong><\/a><\/p>\n

\u201cBeautiful performances from the Ensemble Epomeo.\u201d<\/em>
\nMartin Anderson, Klassik Magazine (Norway)<\/strong><\/a><\/p>\n

\u201cI think I can say that the Epomeo\u2019s musicians are more than up to the technical task of their business and that they sound intensely engaged in the emotional worlds of these two composers and their music. I would now look forward to hearing the ensemble in something more familiar, like Mozart\u2019s great Divertimento in EI Major, K 563, or the Beethoven string trios. Meanwhile, this new, excellent recording is strongly recommended.\u201d<\/em>
\nJerry Dubbins, Fanfare<\/strong><\/a><\/p>\n

\u201cEnsemble Epomeo play with finesse and sensitivity, nicely capturing Krasa\u2019s manic grotesqueries as well as Gal\u2019s elegance and tenderness.\u201d<\/em>
\nMark, Lehman,\u00a0<\/a>American Record Guide<\/a><\/strong><\/p>\n