These are bright, clean performances that have earned admiration. Certainly they are consistently skilful and stylish within the terms of reference that this celebrated ensemble provide in this repertory. Yet I have to say that personally I react adversely to a kind of musical efficiency found here that borders dangerously on slickness, and I long at times for more relaxation, flexibility and evidence of real affection. For just one example of something that displeases this listener at least, the Allegretto second movement of the E major Trio that is the first of the four recorded here is rhythmically severe to the point of sounding rigidly metronomic.
The recording (from 1971) is vivid but also has a fair degree of background hiss that may well disconcert listeners for whom CD reproduction means music plus silence. This is perhaps a record to recommend to some admirers of the Beaux Arts Trio, but to be candid it gave me only limited pleasure.'