One could call this Trout pointless and leave it at that. But it seems a damned cheek to dismiss artists like the Alban Berg Quartet in that fashion, and since their style of interpretation is a sign of our times it is perhaps worth taking some trouble to come to terms with it.
It is just as cheeky to attempt to summarize the essence of classical sonata style in a few words. But perhaps it boils down to something like this—a sensation of travelling, plus the appearance of contrasted events together with the reactions of an observer somehow embodied in the personality of the music. In all three elements there are of course infinite possibilities of interpretation and the balance between them can stand many different shades of emphasis.
The sensation of travel is well looked after in the new recording. Everything trundles along smoothly, well-sprung and well-upholstered like an expensive limousine, the corners expertly negotiated, the potholes neatly avoided. Many of the 'events' are also beautiful in themselves—so they should be, Schubert has taken care of that. What I cannot detect, except in the most rudimentary terms, is any sense of the involved observer, any personality with which to identify. How can Elisabeth Leonskaja play her first movement solo theme with no shades of dynamic or articulation in the repeated octaves? Does the first change of harmony in the work mean so little to the strings? Have none of them heard of the words of Die Forelle when it comes to the famous fourth movement theme? And so it goes on; comfortably, beautifully, facelessly.
Whatever one's reactions to the details of the listed comparisons they never neglect any of the three crucial dimensions. In their very different ways Gilels (DG) and Brendel (Philips) both have much to tell us about the music. If pushed I think I would more happily live with the Philips performance for its less curdled violin tone, better-defined double-bass line and more inventive approach to repeats and instrumental dialogue.'