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Beethoven: Piano Concertos Nos. 1 & 2 / Subdin, Vanska, Tapiola Sinfonietta

BIS

SACD

$21.99 Apr 07, 2017

On two previous albums, Yevgeny Sudbin and Osmo Vänskä have released Beethoven’s three last piano concertos to critical acclaim. Distinctions include Editor’s Choice in Gramophone and top marks from the Italian magazine Musica and the German website Klassik-Heute.de, and performances have been described as ‘electrifying’ (classicfm.com), ‘absolutely stunning’ (Fanfare) and ‘a Beethoven experience you will not want to miss’ (ClassicsToday.com). For the final release in their cycle, Sudbin and Vänskä have travelled to Helsinki to team up with Tapiola Sinfonietta, one of the top Nordic ensembles, and well suited for these earlier and more classical of Beethoven’s concertos. Of the two, the one we now know as the Second was actually begun several years before Concerto No. 1, and indeed even before Beethoven left Bonn for Vienna. During the following decade, Beethoven returned to the score repeatedly and made substantial revisions – including composing a new final movement – and ultimately the C major concerto reached publication first. Both concertos were conceived long before Beethoven's involvement with the symphonic genre, and the influence of Mozart and Haydn is evident in the interaction between the orchestra and the soloist – but Beethoven's individual spirit is nevertheless unmistakeable.

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Beethoven: Piano Concertos Nos. 1 & 2 / Subdin, Vanska, Tapiola Sinfonietta
BIS Apr 2017
SACD
$21.99

Beethoven: Piano Concerto No. 1 - Symphonies Nos. 2 and 3 / Blomstedt, Argerich, Lucerne Festival Orchestra [DVD]

Accentus Music

DVD

$31.99 ~~$41.99~~ Save 25% Nov 19, 2021

In August 2020, Herbert Blomstedt made his debut with the Lucerne Festival Orchestra. You could hardly tell that the maestro had celebrated his 93rd birthday only a month prior for he continuously exudes vitality, awareness, and curiosity. “I’m in love with music,” says Blomstedt, who views his profession as a kind of joie de vivre. Together with the Lucerne Festival Orchestra and Martha Argerich he revealed just what this joy sounds like with Beethoven’s Piano Concerto No. 1 – the work that marked Argerich’s stage debut in 1949 - and Symphonies Nos. 2 and 3, the famous Eroica. Recorded live at the Concert Hall of KKL Luzern, August 2020.

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Beethoven: Piano Concerto No. 1 - Symphonies Nos. 2 and 3 / Blomstedt, Argerich, Lucerne Festival Orchestra [DVD]
Accentus Music Nov 2021
DVD
~~$41.99~~ $31.99

Schubert: Complete Piano Sonatas Vol 2 / Walter Klien
Vox Jan 1996
CD
$29.99

Key Words - Piano Parlando 2

Ars Produktion

$22.99 May 31, 2024

"Keywords," the title of this two-part concept album, cleverly plays with the English word "key," which carries a dual meaning, referring to both the piano key and the key itself. With one exception, the album features pivotal words from piano music of the 20th and 21st centuries, curated in a highly personal selection, including some premier recordings. The intention is to delve into a fundamental question of musical interpretation and composition: "how to address people with music." This doesn't imply the notion of making music verbally communicate. Instead, the pieces themselves are "speaking" works – piano compositions containing explicit or hidden messages, referencing poetry, incorporating language, words, or syllables, engaging in dialogues, resembling diary entries, or narrating entire stories. Moreover, the piano itself takes on various "voices" – whispering, stuttering, calling, hesitating.

— Lotte Thaler

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Key Words - Piano Parlando 2
Ars Produktion May 2024
CD
$22.99

Debussy: Complete Works For Solo Piano Vol 2 / Paul Crossley

Sony Masterworks

$17.99 Jan 11, 2008

Crossley's playing of ''Brouillards'' (the first Prelude of Book 2) successfully evokes the disturbing fog of a winter night in which objects appear suddenly and menacingly. I actually think the marking Modere suggests a quicker tempo—Gieseking takes 2'44'' as against Crossley's 3'33'', but there again, the admirably sensitive Gordon Fergus-Thompson takes a minute longer than Crossley!... This Debussy is beautifully textured, with fine control of fingers and pedals; indeed, it is most sympathetically presented and the recording, made at The Maltings, Snape, is satisfyingly atmospheric, with a glowing sound rather than a brilliant one... This applies equally to the Estampes and Children's Corner. In the former work. ''Pagodes'' is a touch deliberate, but has lovely sounds; indeed, Crossley's tonal beauty is consistent...

-- Christopher Headington, Gramophone [9/1993]

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Debussy: Complete Works For Solo Piano Vol 2 / Paul Crossley
Sony Masterworks Jan 2008
CD
$17.99

Rachmaninov: Piano Concerto No. 2 & Paganini Rhapsody / Vinnitskaya, Urbanski, NDR Elbphilharmonie

Alpha

$20.99 Aug 25, 2017

Sergei Rachmaninov's Second Piano Concerto might never have seen the light of day had it not been for hypnosis: before the twenty-seve-year-old composer began work on it, he was on his last legs - financially, artistically and psychologically. Dr. Nikolay Dahl hypnotized his patient every day, whispering to him: ''You will write your concerto. You will work with great fluency. The concerto will be of excellent quality.' The creative block disappeared, and the concerto's premiere in Moscow in 1901 was a triumph for Rachmaninov, who played the solo part himself. Anna Vinnitskaya says she feels 'a spring-like atmosphere' in this work: throughout there is a sense of movement, of awakening. The music passes through the most contrasting psychological landscapes, but moves towards clarity and light. Rachmaninov composed the Rhapsody on a Theme of Paganini in 1934, ten years before his death. Brahms, Liszt, Lutoslawski and Andrew Lloyd Webber are among the most remarkable roll call of composers inspired by Paganini's theme. The Russian pianist and the Polish conductor Krzysztof Urbanski have often played Rachmaninoff together, on every continent. The two artists, both of whom present here their third disc for Alpha, were reunited in the NDR studios in Hamburg to record this repertory that fits them like a glove.

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Rachmaninov: Piano Concerto No. 2 & Paganini Rhapsody / Vinnitskaya, Urbanski, NDR Elbphilharmonie
Alpha Aug 2017
CD
$20.99

Mozart/Grieg: Sonatas For Piano Duet / Dena Piano Duo

SACD

$24.99 Jul 24, 2007

MOZART (Arr. Grieg) Piano Sonatas: in C, K 545; in F, K 533; in G, K 283; in c, K 457 • Dena Pn Duo • 2-L 40 (Hybrid multichannel SACD: 73:10)

Why would anyone, even Edvard Grieg—not the greatest composer by a long shot, but a great musical figure and one who revered Mozart—arrange any Mozart piano sonatas—even the powerful K 457 and the forward-looking K 533—for two pianos? My wariness of arrangements other than those by the composer leads me to ask again, why? Well, if you’ve never tried it (or never heard it), don’t knock it. Keep an open mind! But before I listened, I read. The notes in the accompanying booklet describe what Grieg did. (In English, the small, red font against a purple background is an abominable choice for reading; in German, the white font against the same background is eminently readable, but my German is now a distant memory.) Grieg’s “arrangements” are actually adaptations, or more precisely, augmentations. In each sonata, Grieg retained Mozart’s score as the primo and composed a secundo to add a more contemporary style to the music. Now this is certainly a novel approach to “arranging,” and it may be the first example of crossover. It is akin to the current theatrical practice of presenting Shakespeare in contemporary guise, such as Julius Caesar in Fascist uniforms or The Taming of the Shrew on motorcycles (both courtesy of noted stage director Michael Kahn or those directors he fosters), a practice that I deplore. Then I listened. What I heard were four Mozart sonatas that were as fully recognizable as their originals, but with fuller bass lines, with extra and more complex harmonization, and with significantly non-Mozartian embellishments.

In the early K 283, much more Grieg is discernable in the latter two movements than in the first movement. K 545, Mozart’s easy-to-play and most popular sonata, can be described as complexified simplicity. The power of the first movement of K 457 is greatly weakened by Grieg’s defocusing secundo augmentation. The second movement of K 457 fares even worse, sounding like a mixture of ballroom dance-music with piano noodling by a “stylist.” Grieg’s defocusing secundo augmentation relaxes the tension in the final movement, eventually enervating the normally powerful coda. Most interesting is the first movement of K 533, which is stylistically very open to Grieg’s secundo augmentation. In the K 533 second movement, in a-b-a form, Mozart already achieves Grieg’s contemporary style in part b without Grieg’s intervention. By contemporizing part a, Grieg distracts from the listener’s amazement at the shocking progressions and harmonies that Mozart introduces in part b. But this provides the opportunity in part b for Grieg to really let loose, building interestingly on Mozart’s already impressionistic base. The final movement of K 533 shows the strongest Grieg influence on this disc, masking the movement’s Mozartian delicacy—one could call it, with successive puns, the “MoztGrieg” and the least “Griegzart.”

The Dena Piano Duo (Tina Margareta Nilssen, piano 1, and Heide Görtz, piano 2) are excellent pianists, and the sound quality is also excellent. Nilssen plays the primo (Mozart) part, and Görtz plays the secundo (Grieg) part. I recommend this CD to Grieg scholars and, strictly as a curiosity, to anyone else, but not as an addition to anyone’s Mozart collection.

FANFARE: Burton Rothleder

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

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Mozart/Grieg: Sonatas For Piano Duet / Dena Piano Duo
2L Jul 2007
SACD
$24.99

Sowerby: Selected Works for Solo & Duo Piano / Julia Tsien, Quillman

Cedille

$19.99 Nov 15, 2019

This album of world-premiere recordings features solo and duo piano music spanning nearly the entire career of Prix de Rome and Pulitzer Prize winning composer Leo Sowerby (1895–1968), one of the most distinctive American voices of the early and mid-20th century. Recorded in 1997 in Chicago, where Sowerby spent the bulk of his student and professional life, the album is being released at mid-price with support from the Leo Sowerby Foundation.

Pianists Gail Quillman and Julia Tsien share a direct musical lineage to Sowerby. Quillman, who established the Leo Sowerby Foundation, studied with Sowerby, and has performed more of his solo piano and chamber music than anyone else. Tsien, an active performer and teacher, was a Quillman student. The album’s earliest work, Three Summer Beach Sketches, for solo piano, from 1915, shows the influence of composer-pianist Percy Grainger, with whom Sowerby studied. It’s also one of the earliest serious compositions to use jazz and blue harmonies. Composed in 1959, Suite for Piano (Four-hands) shares a kinship with the music of Samuel Barber, whom Sowerby championed, and the music of Sowerby’s former student Ned Rorem. Passacaglia, Interlude and Fugue for solo piano (1931) is a dreamy, French Impressionist take on classic forms. Prelude for Two Pianos (1932) is more Delius than Debussy, more English austerity than French sensuality. Sowerby’s brief Fisherman’s Tune is an homage to Grainger. The overture-length sonata movement Synconata, arranged for two pianos, was originally composed in 1924 as a curtain-raiser for American bandleader Paul Whiteman’s “symphonic jazz” concerts.

REVIEWS:

Sowerby's music offers a welcome mix of approachability and compositional sophistication. The discographical value of this disc is huge; that it is a musical triumph seals the deal.

– Fanfare

Leo Sowerby (1895-1968) is a name that takes me back to my Anglican roots. His music that I remember from church choir did nothing to prepare me for the rather brilliant piano music on this release. Here we get what are all labeled world premiere recordings. The solo piano works are played by Quillman (a student of Sowerby’s): Three Summer Beach Sketches (1915) and Passacaglia, Interlude, and Fugue (1931). The rest are performed on two pianos by Quillman and her student, Tsien: Suite for Piano 4 Hands (1959), Prelude for 2 Pianos (1932), Fisherman’s Tune, and Synconata.

Sometimes jazzy and even using blues harmonies, Sowerby’s piano music is always interesting and well crafted. He toured with Paul Whiteman’s Orchestra alongside Gershwin, Zez Confrey. and Ferde Grofe. The first performance of Synconata had Sowerby and Confrey on the two pianos. Sowerby also studied with Percy Grainger, whose influence is quite apparent here.

The booklet notes are quite comprehensive, and the only criticism I have of this recording is the piano sound. It is just adequate and sounds like it was made in a good sized empty concert hall (Ganz Hall in Chicago’s Roosevelt University). I would expect a 1997 recording to be on a higher level, but the unique music makes it worth coming back to.

-- American Record Guide

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Sowerby: Selected Works for Solo & Duo Piano / Julia Tsien, Quillman
Cedille Nov 2019
CD
$19.99

Cage, J.: Piano Music, Vol. 3 - Suite for Toy Piano / The Se

Wergo

$20.99 Mar 01, 1991

It may come as a surprise but one of the leading creators of Keyboard music in the twentieth century is a composer by the name of John Cage. Cage's reputation is so deeply associated with the avantgarde, with chance music, graphic notation, performance art, technology and Zen Buddhism that is early, conventionally-notated music for percussion ensemble and keyboards is sometimes neglected. Or was until recently. In the last few years - with the advent of performances and recordings like this one - there has been a renewed appreciation of Cage's achievements in the earlier part of his creative life. Of course, Cage's keyboard music is not just keyboard music. Cage's once infamous "prepared piano" - born out of need as well as desire - is a keyboard instrument unto itself, as different from the romantic piano as that instrument is from the baroque harpsichord. But even in his "unprepared" piano music, Cage shows his individuality and distance from European tradition. This production received the quarterly German Record Critics' Award.

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Cage, J.: Piano Music, Vol. 3 - Suite for Toy Piano / The Se
Wergo Mar 1991
CD
$20.99

Brahms: Piano Concerto No 2, Piano Sonata No 2 / Osorio

Artek

$18.99 Aug 16, 2005

Born in Mexico, Jorge Federico Osorio began his musical studies at the age of five with his mother. He studied at the conservatories of Mexico, Paris and Moscow and his teachers have included Jacob Milstein and Wilhelm Kempff, among others. Maximiano Valdes is Principal Conductor of the Orquesta Sinfonica del Principado de Asturias in Spain and as of September, 2002, Chief Conductor of the Philharmonic Orchestra at the Teatro Municipal in Santiago, Chile. He was born in Santiago and began his studies in piano and violin at the Conservatory of Music there and continued at the Accademia de Santa Cecilia in Rome where he took courses in composition and conducting. Completing his diploma in piano, he decided to concentrate entirely on conducting and enrolled in the conducting classes of Franco Ferrara in Bologna, Siena and Venice and also worked with Sergiu Celibadache in Stuttgart and Paris.

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Brahms: Piano Concerto No 2, Piano Sonata No 2 / Osorio
Artek Aug 2005
CD
$18.99

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Chopin: Piano Concerto No. 2 in F minor, Op. 21
Profil Jul 2005
CD
~~$18.99~~ $9.49

SCHUBERT: PIANO SONATAS NOS. 16 & 17 IMPROMPTU N 2

ALTO

$11.49 Mar 06, 2020

Richter's interpretations in these years had an elemental power, unselfconscious abandon that was refined and tempered in later life. These entirely unedited performances, given over more than three decades from the mid 1950s to late 1980s, feel not only live but somehow extraordinarily real. Not that Richter ever gives the impression of playing for the microphone, and his vision of musical structures remains constant whether in the studio or concert-hall.... The Schubert D major Sonata (studio recording 1956) is a tower of inner strength

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SCHUBERT: PIANO SONATAS NOS. 16 & 17 IMPROMPTU N 2
ALTO Mar 2020
CD
$11.49

Beethoven: Early Piano Sonatas, Opp. 2-7-10

Brilliant Classics

$16.99 Mar 20, 2026

An experienced early-keyboard specialist brings his expertise to the 'New Testament' of the piano repertoire. 'Period' performances of Beethoven sonatas have become relatively mainstream during the present century, through artists such as Robert Levin and Ronald Brautigam. Through them, we have learnt, or rediscovered, that the turns of phrase in Beethoven's musical thinking take on a particular shape and agility when played and heard on the kind of instrument for which he was writing. All the same, most modern fortepianos are exactly that: modern. In this bold new project, Simone Pierini presents the first nine of Beethoven's sonatas-from Op.2 to Op.10-on fully original instruments of the period. These instruments are identified as the work of piano-makers Johann Haselmann (end of 18th century-early 19th century), Matthias Müller (1822), and Conrad Graf (1830). Simone Pierini complements the sonatas with several standalone pieces: the Allegretto in C minor WoO53, Andante Favori WoO57, Bagatelle in B flat WoO60, the Rondos Op.51, Variations in D Op.76 and the Polonaise in C Op.89. The set thus surveys the first 20 years of Beethoven's career as a composer, from the Op.2 sonatas of 1795 to the Polonaise which he wrote in 1814-15. During those two decades, his style underwent far-reaching changes, which in themselves have come to define the passage from the Classical to the Romantic style in music. All the same, Beethoven was and is Beethoven all the way through, as inimitable and distinct in the coursing momentum and sometimes surprising breadth of Op.2 as in the inward gaze of the Andante favori and the sideways look at popular dances in the Polonaise: all of them, in their way, inheritances from and developments of Haydn's style. Simone Pierini's previous fortepiano albums for Brilliant Classics include sets of sonatas by Luigi Cherubini, JB Cramer (Beethoven's publisher in London) and Helene de Montgeroult. He brings to this repertoire a deep understanding of both it's context and the nature of the instruments on which these composers were working at the turn of the 18th to the 19th centuries: equipped with a lighter touch than many modern pianos, and a more intimate tone. Reviewing the album of de Montgeroult, the Fanfare critic remarked that Pierini 'plays with tremendous energy and conviction.'

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Beethoven: Early Piano Sonatas, Opp. 2-7-10
Brilliant Classics Mar 2026
CD
$16.99

Mix & Match

SCHNITTKE: CON FOR PNO & STRS / PROKOFIEV: SYM 2

CLEVELAND ORCHESTRA

SACD

$22.99 Nov 05, 2021

The third album on The Cleveland Orchestra's label follows the 'old-new' pairing of their previous release, showcasing recordings of Prokofiev and Schnittke that cover both preand post-pandemic music-making. Prokofiev's Symphony No.2 is a beautiful and exquisitely fashioned gem, inspired by the early 20th century's fascination with mechanics and industry, and the everchanging world during that era. Franz Welser-Most sees the work as "a fascinating examination both of the World War itself and a reflection on how it changed people's views. This is a far-sighted view of Modernity, and shows us an Expressionist spirit that is still deeply moving - and disturbing - today." Schnittke's Concerto for Piano and Strings, featuring pianist Yefim Bronfman with the orchestra's strings, was recorded at Cleveland's Severance Hall, during the midst of Covid-19 restrictions, as part of the orchestra's new In Focus digital broadcast series.

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SCHNITTKE: CON FOR PNO & STRS / PROKOFIEV: SYM 2
CLEVELAND ORCHESTRA Nov 2021
SACD
$22.99

Saint-Saens, C.: Piano Concerto No. 2 / Dvorak, A.: Symphony
Thorofon Jul 2005
CD
$24.99

Tchaikovsky: Piano Concerto No 2, Etc / Scherbakov, Et Al

Naxos

$19.99 Mar 27, 2007

After excellent accounts for Naxos of Tchaikovsky's First and Third piano concertos, Konstantin Scherbakov and Dmitry Yablonsky offer an even finer sequel. Indeed, this performance of the Second piano concerto moves straight to the top of the pile (along with Pletnev's) as the reference edition of a work that so often comes across as heavy and dull. Not here! With swift tempos and a "take no prisoners" approach, the result is infinitely exciting. The first movement's huge contrasts in tempo and dynamics between first and second subjects (and beautifully executed transitions between them) practically define the Romantic aesthetic, chez Tchaikovsky. The slow movement's accompanied trio textures seldom have flowed more winsomely, and you have to hear Scherbakov to believe how thrillingly he flings himself into the finale's fistfuls of notes. It seems such a simple concept: play the living daylights out of the music. Why do so few pianists attempt it?

While less revelatory an interpretation in terms of the competition, Scherbakov and Yablonsky do just as well by the Concert Fantasy, a wonderful concerto-length piece that no one seems to love. Tuneful, colorfully scored, and innovative in its two-movement form, it deserves to be better known and played with the just the kind of lyrical impetus, bravura, and élan that it receives here. The second movement, "Contrasts", holds together particularly well, perhaps because Scherbakov and Yablonsky take Tchaikovsky at his word and bring out as much variety as possible without ever lapsing into mannerism. Never mind that Naxos has a very fine disc containing exactly this coupling already in its catalog (by Glemser and Wit); this is the one to own, and the excellently balanced sonics and modest price only seal the deal.

--David Hurwitz, ClassicsToday.comm

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Tchaikovsky: Piano Concerto No 2, Etc / Scherbakov, Et Al
Naxos Mar 2007
CD
$19.99

Debussy: Piano Works, Vol. 1 / Thiollier

Naxos

$13.99 ~~$19.99~~ Save 30% May 17, 1995

The CD contains piano music Debussy wrote prior to 1901 and we are given "Suite bergamasque", "Nocturne", "Danse bohémienne", "Rêverie", "Mazurka", "Arabesqe 1 & 2", "Valse romantique", "Ballade", "Danse", and the "Suite: Pour le piano", first performed in 1904.

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Debussy: Piano Works, Vol. 1 / Thiollier
Naxos May 1995
CD
~~$19.99~~ $13.99

Rachmaninoff: Piano Concerto No. 2 / Chailly; Fujita DVD

Accentus Music

DVD

$41.99 Jun 02, 2023

For Riccardo Chailly, celebrating Rachmaninoff in Lucerne is something dear to his heart. In 2022, the the Lucerne Festival Orchestra and their music director devoted themselves to the Second Symphony and the Piano Concerto No. 2, the most famous of all four Rachmaninoff concertos. "The harmonic ideas are his special hallmark. One need only hear three chords to recognize his creative genius immediately," Chailly once said of Rachmaninoff's timbres. Japanese pianist Mao Fujita took on this grandiose work's emotional power and virtuosity. Since winning the silver medal in the XVI Chopin Competition in 2019, this exceptional artist has been playing in the world's most renowned concert halls.

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Rachmaninoff: Piano Concerto No. 2 / Chailly; Fujita DVD
Accentus Music Jun 2023
DVD
$41.99

Sale

MOZART, W.A.: Piano Concerto No. 2 / Symphony No. 40 (Anda)
IDIS Oct 2005
CD
~~$16.99~~ $12.99

BARGIEL: PIANO TRIOS NOS. 1 & 2

HYPERION

$18.33 Apr 01, 2022

Leonore Piano Trio - BARGIEL: PIANO TRIOS NOS. 1 & 2 - The name of Woldemar Bargiel may be little known today-although he was the half-brother of Clara Schumann, no less-but he was highly regarded by Brahms and the Schumanns. These are two delightful, richly melodic works.

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BARGIEL: PIANO TRIOS NOS. 1 & 2
HYPERION Apr 2022
CD
$18.33

Tomásek: Piano Concertos No 1 & 2 / Válek, Simon, Prague Rso
Supraphon Jul 2006
CD
$27.99

Beethoven: Piano Concertos Nos. 2 and 3

Accentus Music

DVD

$20.99 ~~$27.99~~ Save 25% Jan 13, 2017

Beethoven’s piano concertos impressively reflect the personality and creativity of the revolutionary composer. They are a challenge for each pianist. In this recording of the second and third concertos, the legendary pianist, conductor, and teacher Leon Fleisher and his star pupil Margarita Hohenrieder, who has also gained international recognition, show their personal relationship with Beethoven. At two unusual concert locations- the Zollverein World Heritage Site in Germany’s Ruhr area and the famous Max-Littmann-Saal in Bad Kissingen, which is known for its acoustics- the two discerning artists perform the two concertos together with the Kammerphilharmonie Amade and the Wurttemberg Chamber Orchestra Heilbronn. Also included is a bonus film of Leon Fleisher and Margarita Hohenrieder in rehearsal as well as speaking about these works.

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Beethoven: Piano Concertos Nos. 2 and 3
Accentus Music Jan 2017
DVD
~~$27.99~~ $20.99

Bowen, Y.: Piano Works, Vol. 2 - Piano Sonata No. 5 / Fant
Chandos Mar 2007
CD
$21.99

Tchaikovsky: Piano Music Vol 2 / Oxana Yablonskaya
Naxos Oct 2000
CD
$19.99

Schubert: Trout Quintet, Etc / Immerseel, Beths, Et Al

Sony Masterworks

$17.99 Jul 09, 2009

This is a very sprightly Trout. The first movement, a true Allegro vivace, gives a joyful feeling of onward momentum, but poised and well in control so there's no sense of undue hurry. The lively yet easygoing style persists in the Scherzo and finale. The quintet's bright textures suit the clear, picturesque sounds of period instruments admirably: I especially enjoyed the light, seemingly effortless brilliance of the piano's upper register — the third variation in the fourth movement shows this off to perfection — and the way the characteristic 68 Gramophone February 1999 sonorities of the lower strings emerge so clearly. But there are some disappointments; Schubert's many pianissimos rarely sound soft or mysterious enough, and I felt often that the string phrasing should move further away from classical elegance towards romantic breadth. In the two slower movements particularly, the best modern instrumental versions, such as those led by Brendel and Curzon, achieve a more intense expression of Schubert's unique lyricism.

Bylsma plays the Arpeggione Sonata on a five-string violoncello piccolo. The result is wonderfully convincing; the light, reedy tone, often with minimal vibrato, is very appealing, and the high-register passages sound entirely natural and unforced. Immerseel's Viennese-action instrument, too, is especially evocative and sweet-toned here. The Notturno, however, despite some fine playing, slightly misfires, missing the mystery and excitement of La Gaia Scienza (also on period instruments), or the tranquillity and grandeur of Schiff, Shiokawa and Perenyi (their two-disc set of the piano trios also includes a warmly expressive account of the Arpeggione Sonata).

This well-recorded disc is certainly a recommendation for a period-instrument Trout, and as authentic-sounding an Arpeggione as one is likely to hear.

-- Gramophone [2/1999]

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Schubert: Trout Quintet, Etc / Immerseel, Beths, Et Al
Sony Masterworks Jul 2009
CD
$17.99