Schubert Piano Trios
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Schubert
Label: Classics
Magazine Review Date: 10/1991
Media Format: CD or Download
Media Runtime: 63
Mastering:
DDD
Catalogue Number: 1215-2

Tracks:
Composition | Artist Credit |
---|---|
Piano Trio No. 1 |
Franz Schubert, Composer
Franz Schubert, Composer Zingara Trio |
Notturno |
Franz Schubert, Composer
Franz Schubert, Composer Zingara Trio |
Piano Trio |
Franz Schubert, Composer
Franz Schubert, Composer Zingara Trio |
Composer or Director: Franz Schubert
Label: Classics
Magazine Review Date: 10/1991
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: 1215-4

Tracks:
Composition | Artist Credit |
---|---|
Piano Trio No. 1 |
Franz Schubert, Composer
Franz Schubert, Composer Zingara Trio |
Notturno |
Franz Schubert, Composer
Franz Schubert, Composer Zingara Trio |
Piano Trio |
Franz Schubert, Composer
Franz Schubert, Composer Zingara Trio |
Author: Joan Chissell
Unlike the Beaux Arts, the newcomers repeat the exposition of the B flat Trio's opening Allegro moderato, and play it with a sense of recharged vitality that never allows a bar of it to sound like mere repetition. Perhaps the slightly more flowing tempo chosen by the Beaux Arts for the second movement comes nearer to the un poco mosso with which Schubert qualifies his Andante. In the scherzo I preferred the Zingara's livelier tempo, though just once or twice I found myself wishing for sharper accentuation to give things a little more tingle.
As for the two shorter works, here again I felt the Beaux Arts' marginally faster flow a distinct advantage in the Notturno (Schubert's marking is Adagio qualified by an alla breve time signature), but that the Trio Zingara are the winners in keeping the very youthful single movement Sonata in B flat on the move. As I've already remarked, The Maltings acoustic is more resonant than the Swiss venue chosen by the Beaux Arts, so that texture on the Collins disc is not as transparently crystalline—listen, for instance, to the keyboard triplets in the bold central E major section of the Notturno. But the warmth of the sound is as assuaging as that of the playing itself. Can we now look forward to Schubert's E flat Trio from this eminently trustworthy team?'
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