Special offer. Beethoven & Brahms: Clarinet Trios
Alexander Bedenko (clarinet), Kyril Zlotnikov (cello), Itamar Golan (piano)
Faster movements bubble along neatly, propelled forward by Itamar Golan’s fluid piano playing. Everything has an easy, unruffled flow. There’s nothing not to like about the playing, but as a...
Special offer. Beethoven & Brahms: Clarinet Trios
Alexander Bedenko (clarinet), Kyril Zlotnikov (cello), Itamar Golan (piano)
Purchase product
Faster movements bubble along neatly, propelled forward by Itamar Golan’s fluid piano playing. Everything has an easy, unruffled flow. There’s nothing not to like about the playing, but as a...
About
Beethoven’s Trio for clarinet, cello and piano, Op.38, began life as his Septet, Op.20, with which he was “delighted” – until it became outrageously popular. Nevertheless, Beethoven was happy to rearrange this expansive, six-movement work for clarinet, cello and piano, in which guise it takes on a charmingly intimate quality. Brahms was on the brink of retirement when he heard clarinettist Richard Mühlfeld and was inspired to write several chamber works, including his Clarinet Trio. Although the clarinet was Brahms’s initial inspiration, lyrical cello lines and rich piano textures ensure that all three musicians are active protagonists. Alexander Bedenko is an award-winning clarinettist who regularly works with many of the world’s most celebrated musicians. Kyril Zlotnikov is a founding member of the famous Jerusalem Quartet, and Itamar Golan is a pianist who for two decades has partnered many of the outstanding musicians of our time, including Maxim Vengerov, Mischa Maisky and Ida Haendel, while teaching chamber music at the Paris Conservatoire.
Contents and tracklist
- Alexander Bedenko (clarinet), Kyril Zlotnikov (cello), Itamar Golan (piano)
- Alexander Bedenko (clarinet), Kyril Zlotnikov (cello), Itamar Golan (piano)
Awards and reviews
December 2019
Faster movements bubble along neatly, propelled forward by Itamar Golan’s fluid piano playing. Everything has an easy, unruffled flow. There’s nothing not to like about the playing, but as a whole the performance makes the music seem slightly limited in scope. The same could be said, to a lesser extent, about the Brahms.
May/June 2020
This is an all-around wonderful and winning disc, proof that an oddly mated couple can live compatibly together, at least on a record album. Strongly recommended.
December 2019
Timbrally, the performances are ravishing. Bedenko’s tone is the most luxurious velvet and an effective foil for Zlotnikov’s tensile yet supple sound – think fine-grained leather – and both are set off by the coruscating clarity of Golan’s fingerwork.