In the wake of the warmly praised DG’s brother-and-sister team of Gil and Orli Shaham in this repertoire last May, along come Florestan Trio members Anthony Marwood and Susan Tomes with performances of even more beguiling accomplishment. This delectable Hyperion release enshrines music-making of sensitivity and eloquence. Marwood may not produce as luscious a sound as that of his dashing young DG rival, but his subtly variegated tone-colouring more than compensates; Tomes, too, displays the deftest touch throughout.
The F major Sonata receives a wonderfully pliable reading, full of imaginative touches. I especially warmed to their unhurried, yet purposeful way with the opening movement (Dvorak’s ma non troppo marking ideally judged). The beautiful ensuing Poco sostenuto has both Brahmsian warmth and hushed intimacy; the finale is joyous and articulate. Marwood’s and Tomes’s account of the captivating Sonatina is less ‘glamorous’ and high-powered than the Shahams’ – and altogether more personable as a result. Try from the Scherzo (track 3) to hear these fine artists at their sparkling best. Similarly, the second of the Four Romantic Pieces has an earthy tang reminiscent of Janacek, while the Allegro appassionato third movement unfolds with just the right flowing ardour. Hyperion score over DG in offering two extra items, the haunting Nocturne in B and a sombre, vividly characterized Ballad in D minor from 1884 (written just before the Seventh Symphony).
Distinguished competition also comes in the shape of Supraphon’s identically coupled recital featuring the great Josef Suk and pianist Josef Hala. The Czechs’ performance of the Sonatina is especially entrancing and their idiomatic, warm-hearted advocacy will give much pleasure (Suk’s silvery, songful tone production is, of course, deeply affecting in itself). However, I think this new Hyperion anthology must now take the palm, not least in view of the marvellously realistic and impeccably balanced recording (yet another Keener/Faulkner production).'