The Scottish Office certainly knew what it was about at the turn of the nineteenth century. George Thomson, then Secretary to the Board for the Encouragement of Arts and Manufactures in Scotland, commissioned Pleyel, Hummel, Haydn and finally Beethoven to do a little musical marketing for him in the shape of folk-song settings. The English Piano Trio and Ann Mackay have already recorded some of Haydn's contributions to the exercise (also on Meridian); now they turn to Beethoven.
The Canadian Mackay sings for all the world like the simple, faithfu' Scots lass, her soprano strong and clear of articulation, and sprightly as an eightsome reel. She could, perhaps, carve out a stronger edge of indignation in the leaps of Cease your funning, and bring a tear or two more to Dim, dim is my eye. Her direct, plain-speaking approach carries over into the playing of the EPT, who drone, track and fancifully accompany her, as well as offering two Beethoven trios in their own right. Both the C minor and the B flat works look the listener straight in the eye: three robustly equal parts spar and sing in no-nonsense performances. The slow movement of the Op. 11 is a little four-square; the piano unflatteringly recorded. Indeed, I've heard both more elegant playing and more sophisticated recording. But these are friendly, approachable performances which will weather well enough.'