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Order number B 108 093
ATOS Trio: the czech album
ATOS Trio: the czech album


Price EUR 15,50

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Antonin Dvorak (1841-1904)
Trio f-moll, op. 65

Bedrich Smetana (1824–1884)
Trio g-moll, op. 15
Recorded at Bremer Sendesaal, July 2015

(German, English)
· texts
· biographies
ATOS Trio:

Annette von Hehn, violin
Stefan Heinemeyer, cello
Thomas Hoppe, piano

Czech music.

First came "the french album", then "the russian album"; now, the ATOS Trio is presenting "the czech album" with music by Dvorak and Smetana. Two trios composed amid profound human pain resulting from the loss of a beloved person.

As one of our first and certainly most-played trios, Dvorak's op. 65 has accompanied us for many years. I feel that it is one of the most beautiful piano trios there is. It is so intense and touching: one moment profoundly melancholic, then full of effervescent joy and high spirits, here beautiful cantilenas, then exhilarating dances, and yet perfectly coherent from beginning to end.
Smetana's op. 15 is moving in a very different way. The unusual beginning of the trio, with its grief-stricken violin solo, grips listeners and performers from the very first note. The contrast between the composer's grief at the loss of his daughter and his memories of her lends the music an even more tragic note. No one can escape being drawn in by this dramatic autobiographical background."
Annette von Hehn

"For me, this album, these pieces, this atmosphere, are a journey back in time: when I was 16, I spent 12 months in Prague to study. This music evokes in me both a sense of home and wanderlust."
Stefan Heinemeyer

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"They were Austrians in Haydn, Czechs in Dvorak, and Russians in Shostakovich."
O Estado de Sao Paulo [Daily newspaper]

"... Atos’s Smetana is outstanding and a good supplement to Czech groups like the Smetana, Suk, and Guarneri. ... "
American Record Guide, Roger Hecht, November/December 2016

"...In this German ensemble’s hands Dvorák’s trio has a weight and grandeur befitting its symphonic dimensions. The first movement gathers tension slowly but steadily. The slow third movement is wonderfully expansive. These players don’t shy away from the emotional extremes, but nor do they force them. And in those moments of quiet reflection, they are at their most eloquent. ..."
Gramophone, Hannah Nepil, 2016, October