Dmitri Shostakovich - Piano Trio No. 1 in C minor, Op. 8

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- Composer: Dmitri Dmitriyevich Shostakovich (25 September 1906 -- 9 August 1975)
- Performers: Janine Jansen (violin), Torleif Thedéen (cello), Eldar Nebolsin (piano)
- Year of recording: 2012 (Live, Vredenburg Utrecht, The Netherlands)

Piano Trio No. 1 in C minor, Op. 8, written in 1923.

In one movement, marked "Andante".

Shostakovich wrote his 1st Piano Trio (originally entitled ‘Poème’) when he was only sixteen, and had already spent three years as a student at the Conservatoire in Petrograd (as St. Petersburg was then known). His father had died the previous year, lack of food and heat in post-revolutionary Russia was making life very difficult, and Shostakovich’s already frail health had deteriorated. He contracted tuberculosis of the lymph glands, and underwent an operation shortly before his piano graduation recital, at which he played Beethoven’s ‘Waldstein’ Sonata with his neck wrapped in bandages. He was then sent to a sanatorium in the Crimea to convalesce, and it was there that he wrote this Piano Trio. He dedicated it to Tatyana Glivenko, a girl with whom he had fallen in love while he was convalescing, and with whom he maintained a warm relationship for several years.

The Piano Trio is in a single movement, cast in a large-scale sonata form, with two contrasted themes, and a development section that rises to climaxes. But more striking than this formal procedure is the range of material that Shostakovich deploys, and the transformation that themes undergo. The opening theme, with its drooping semitones interspersed with yearning leaps, supplies the material for agitated passages, for a spiky, brooding version of the theme (one of the grotesque touches that seems most like the mature Shostakovich), and for a dramatic climax. This is followed by a dreamy second theme, which Shostakovich took from an incomplete piano sonata. Despite this origin, it seems somewhat related to the first theme: the drooping semitones have gone, but the yearning leaps remain. After the dramatic development, which breaks off suddenly, the themes recur in reverse order.

Already, this student work contains recognizable Shostakovich hallmarks: lyrical melodies coloured by acerbic harmonies, sudden contrasts of pace and energy, insistent rhythms, and spare textures giving way to unashamedly romantic passages and powerful climaxes. All of this we can hear as a preparation for his triumphant graduation composition two year later, the First Symphony. The Piano Trio, however, was not published during Shostakovich’s lifetime, and the edition that appeared after his death was assembled from various autograph sources, none of them complete scores. The last twenty-two bars of the piano part were missing, and were supplied by Shostakovich’s pupil, Boris Tishchenko.

olla-vogala

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4:16 One of the most beautiful moments ever, it's like a warm summer day embraced by open fields of flower and sunshine

SCRIABINIST

My dear friend had this playing at his funeral, along with a piece from Tchaikovsky, Nutcracker (Op.71, TH.14 / Act 2: No. 14c Pas de deux), and Piano Concerto No.2 (Rachmaninoff). He had a full orchestra in a cathedral, even though he wasn't religious. He likes these three Russians, as he would call them. "The golden trio." He was an exceptional young fellow, a gentleman. Always dapper, always spoke well, and read a lot too. He was 19 at the age of death, and he knew it was about to happen. Handled it very stoic. When people came around, he asked "Have they swept away the gravel?" (After winter). Or "Did the postman come as usual today?" He knew we all were in grief, but somehow I think he enjoyed it. But the funeral was splendid, he had structured the songs in a particular order, first the Piano Trio (haunting violin tragedy), then this, and lastly Piano Concerto. He made someone read from the Illiad and some own poems. One of them was: We leave nothing to this world. Our life is for ourselves. And another one about a love of his, I don't know whom:
So you look out for the stars
Pay attention to the birds
And the oceans
And hope to glimpse her there
And that constant hope
Becomes you very reality.
He had so many friends you never thought about. It was us at his age, from school and childhood. But then there were people all around the world. Young as old. Men, women. He had a dozen people flying in from Italy that I never knew existed. And they all had such beautiful stories about him. There was a girl too, from the west coast. She loved him uncontrollably, and I knew this would never end for her. For me, the whole thing was so beautiful I wanted to die too.

loewesandberg

"You're the chosen one, Dmitri..."

LoCoZappers

My gosh, what a delightful piece. I've never heard it before. Thank you so much for this.

charlesmchugh

This is one of the most wonderful piece I've heard from Shostakovich!
He has made amazing works, but this deserves the word, wonderful.

BassRai

le génie de dimitri chostakovitch éclatant dans ce trio somptueux, , une moment de pur bonheur comme toujours avec dimitri, , et ce côté mystérieux qui irise chacune de ses oeuvres merci

khool

omg this is SO beautiful. had to play this piece more than 25 years ago in my piano lessons as a teenager, but at that time i was just too dumb to understand what's going on in this piece. ;)

Jenairaslebolmerde

For the love of god YouTube don’t take this down

VincentGiza-Composer

What a gift!! A young man so talented with an incredible tenacity of imagination and emotions 🎼🎵🎶🎹🎻🎵 Learning his history and this piece. I had never heard of this great Russian composer and pianist. 💓❤

cheri

The 3rd upload from you that I am listening to today. Thank you for your efforts. Chamber works tend to be neglected on our two local classical music stations.

harryandruschak

The sound quality of this version is astonishing! I love that I can hear the string rustle right before the note is fully sounded like at 1:43

Luke-nzzx

Composing a piece of that quality at 17 ! He was a new Mozart... (Without the preciousness and the often superficial side of the XVIIIth century).

IvanGreindl