Writing within the context of Sony’s CD booklet, Mark Salzman poses the question: “If basketball can have its Dream Team and literature its Algonquin Round Table, why can’t chamber music have its All-Star Ensemble?” And certainly anyone who has heard such illustrious ensembles as the Heifetz - Rubinstein - Feuermann, Schneiderhan - Fischer - Mainardi, Thibaud - Cortot - Casals or Kogan - Gilels - Rostropovich trios knows full well that musical Dream Teams can work. A parallel compatibility distinguishes at least part of this particular CD where Yo-Yo Ma and Emanuel Ax make elevated musical gossip of Schubert’s Arpeggione Sonata, playing into each other’s hands and phrasing with the utmost finesse. The first movement in particular (with repeat) flows forth without the least effort, smooth as velvet yet beautifully articulated.
Come the Trout Quintet, however, and energy levels rise, muscles flex and easy conversation gives way to animated lobbying. Take, for example, the Scherzo third movement, an exciting sprint – yes – but why so fast? Turn then to the more relaxed Alfred Brendel (with Thomas Zehetmair et al and 4'21'' against Ax’s 3'51'') and although “some will favour an extra shot of animal vigour” (as I put it in January) you immediately hear what is missing from the newer performance: in a word, repose. Elsewhere, there is an abundance of clean, brilliant and often sensitive playing; some nice characterization, too – such as Ax himself offers as he lilts through the last of the Trout Variations (at 6'26'') or indeed through the song itself (prettily sung by Barbara Bonney). Still, further comparisons invariably work in Brendel’s favour, especially where matters of inflexion, colour and balance are major interpretative priorities; at 1'58'' into the first movement’s second set, for example (1'48'' on Ax’s disc), where violin and cello exchange sighs against a rippling backdrop. Here Ax and his team seem somewhat over-earnest, whereas Brendel’s performance reveals a far greater degree of perspective. Similar comparisons abound and yet the verdict is always the same: concerted monologue on the one hand, sympathetic dialogue on the other. Incidentally, Brendel and his team score an extra point by observing the last movement’s repeat; theirs is also the better recorded production although in choosing between Brendel and Ax I would not want to a forget a superb earlier recording, originally on Philips but now on a budget-price Belart CD, where Ingrid Haebler is joined by Arthur Grumiaux and other fine string players. Even after some 30 years, this remains a very special experience and the coupling – Mozart’s Clarinet Quintet – is exceedingly generous. '