Affinity with the German repertory, we are told, led to this French trio's choice of the name Wanderer. Since their formation in 1987 awards have included a scholarship to further their studies with Franco Gulli, Gyorgy Sebok and Janos Starker at Bloomington, USA, before later guidance from members of the Amadeus Quartet – and thereafter an enviable succession of international concert engagements.
Here, both works are played with unflagging youthful verve and technical aplomb. I can't recall a more daring molto allegro tempo for either of the darting scherzos. The Lied ohne Worte-like slow movements in their turn are allowed slightly more time to speak than is often heard (especially the first, headed Andante con moto), though without any trace of the unctuousness that such leisure could have incurred. So far, so good. But now, alas, for the problem. All might have been well had the exuberantly brilliant pianist, Vincent Coq, been playing a lightweight 'period' instrument of the kind Mendelssohn himself would have used. But to observe all this composer's sempre ff e con fuoco, con forza and similar markings in keyboard writing (especially in the outer movements) as demonstratively virtuosic as anything in his piano concertos, is courting disaster on a modern concert grand. In short, balance leaves much to be desired. The principal sufferer is the violinist, far too often inaudible in higher reaches. The cello comes over rather better in the warmly resonant recording venue (the Salle Wagram, Paris). Having castigated the pianist, I think it's only fair to add that I think Sony's engineers themselves could have done rather more to help.'