The lugubrious low tones of the baryton – combined with an unusually slow tempo – make Movement I (“Largo”) one of the most uninspiring first movements I’ve yet heard.
Movement II (“Allegro”) and Movement III (“Menuet”) don’t sweeten the deal any.
No. 96 isn’t one of my faves.
No. 97 in D, despite having seven(!) movements is only better because it has seven movements. It’s odd. And, therefore, intriguing. I was fascinated by this trio.
According to a CD description on the AllMusic web site, No. 97 offers an “…odd but confident seven-movement structure (including a fugue).”
Movement VII (“Finale: Fuga presto”) was lively and fun. Plus, Continue reading