Schubert Piano Trios

Record and Artist Details

Composer or Director: Franz Schubert

Label: Decca

Media Format: CD or Download

Media Runtime: 91

Mastering:

DDD

Catalogue Number: 455 685-2DX2

Tracks:

Composition Artist Credit
Piano Trio No. 1 Franz Schubert, Composer
Franz Schubert, Composer
Lynn Harrell, Cello
Pinchas Zukerman, Violin
Vladimir Ashkenazy, Piano
Piano Trio No. 2 Franz Schubert, Composer
Franz Schubert, Composer
Lynn Harrell, Cello
Pinchas Zukerman, Violin
Vladimir Ashkenazy, Piano
The Schubert year is producing some high-class recordings of the piano trios. Coming to this shortly after La Gaia Scienza’s period performance of the E flat Trio (see above), and the Schiff/Shiokawa/Perenyi recordings (see above), I was struck first of all by the big scale of the playing, confidently virtuosic when the music demands it (Ashkenazy’s command in the outer movements of the E flat Trio is outstanding), and with a warmth and wide range of expression that envelops you as you listen. The recording captures the variations of colour most faithfully – compared to the spacious, concert-hall ambience of Teldec’s sound, this has a more intimate feel, yet with a well-blended fullness.
The three high-powered musicians are at their best where the music is grand and large-scale – the opening Allegro of D929 has a wonderful sweep and energy, as do the outer movements of D898. Their heart-on-sleeve style contrasts strongly with the more subtle inflexions of dynamics, colour and articulation favoured by Andras Schiff and his colleagues. There are a number of places, indeed, where one wishes Shiokawa could be a little less cool and poised, and take on a little of Zukerman’s wholehearted fervour in the lyrical passages. In the Andante movements the differences are most marked; with the Teldec artists both pieces keep moving at an authentically brisk classical Andante; on the Decca recording the tempo in D929 is more like a funeral march and in the D898 movement the flowing start is continually dragged back by the weight of tone and intensity of expression of the two string players. There is, as one might expect, some very distinguished and imaginative playing in these Andantes, and in the scherzos too, where the overall effect is also, perhaps, a trifle heavy. It’s as though Zukerman and Harrell are continually tilting the music towards the legato, cantabile style which they do so well.
So, though these are extremely enjoyable, supremely accomplished performances, in the end I’d opt for the more balanced style, and, I think, deeper insight of Schiff, Shiokawa and Perenyi. The Teldec discs are full price, but include marvellous performances of the Arpeggione Sonata and the trio Notturno, as well as the original, extended finale of D929.'

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