These three examples of Viennese entertainment music happily complement one another. If the programme as a whole appeals then the disc can be confidently recommended; the playing is distinguished throughout, with the Takacs producing warm, beautifully blended tone, and the recording, though it doesn’t have the most vivid presence, providing an attractively spacious ambience. Of the individual performances, the Wolf is, I think, outstanding; elegant playing, with the seductive and grotesque elements brought out to just the right degree. Mozart’s Andante has a seductive sound, too, and the quicker movements have a joyful sense of momentum. Compared with this, the Brandis recording I reviewed recently seems quite staid. The phrasing, however, tends to be slightly spongy – I’d have welcomed more lifted upbeats, clearly staccato notes and more decisive starts to forte passages.
The Trout is spirited, expressive and finely balanced, with clean, polished piano-playing. Impressive though Andreas Haefliger is, several pianists – Curzon and Brendel spring to mind – have given the music a more varied and compelling character. But I love the way that, after a dreamy introductory passage, the movement gathers pace (track 1, 0'48'') to a true Allegro vivace. The Scherzo is played at a real Presto, and the finale, which so often seems the least interesting part of the Quintet, moves forward at an excitingly impulsive rate. Schubert’s many pianissimos are always made to tell, bringing out a romantic sense of perspective. Among recent Trout recordings, however, I’d still plump for Brendel, Zehetmair et al. The sound has more impact, and though the tempos may be on the slow side, this isn’t a problem with playing of such spirit and imagination.'