Beaux Arts From Juin 2016

The Trios all date from 1797, when Haydn had ascended from the position of a gifted and appreciated court composer to achieve fame. Concurrent with his increased fame, he began writing extensively for the piano trio, a combination that was the focus of his attention in his last years of activity. The Trios on this disc are the results of Haydn's late life and show all of his accomplishments and inspiration.

These four piano trios were composed by Franz Joseph Haydn and published between 1795 and 1797, after Haydn had been released from his obligations as Kapellmeister to the Esterházy household. They are superbly performed by the Beaux Arts Trio, an ensemble renowned for its warm and lyrical interpretations of eighteenth century chamber music. Especially noteworthy is the "Gypsy" Trio (Hob. XV No. 26) with its third movement that blends classical sophistication with folk dance tunes. A thoroughly enjoyable listening experience.

Thoughtful, sensitive playing in slow movements, lively tempi in allegros, characteristic musicianship plus spontaneity combine to make these recordings highly recommendable throughout…

Since the Beaux Arts Trio last recorded Beethoven's Triple Concerto in 1977 two of its personnel have changed, with Ida Kavafian and Peter Wiley taking over from Isidore Cohen and Bernard Greenhouse. That leaves Menahem Pressler, now in his seventies, as the ever-lively survivor. Not only does Pressler's playing sparkle even more brightly in the concerto than before, he is an inspired protagonist in the Choral Fantasia, setting the pattern of joyfulness in this performance from his opening improvisation-like solo onwards. The other prime mover is Kurt Masur, who has rarely conducted more electrifying Beethoven performances on disc.

Long recognized as the leading piano trio in a competitive field, the Beaux Arts Trio is known for precise, straightforward performances and recordings of everything in the standard Central European trio literature.

Tempered by Rimsky-Korsakov’s orientalism and Tchaikovsky’s eclectic refinement, Anton Arensky’s pristine, elevated style is nowhere more arresting than in his two splendid piano trios. These richly sonorous, predominantly elegiac compositions are magnificently played by the Beaux Arts Trio. Recorded sound is of demonstration quality, and these sensational accounts deserve the strongest conceivable recommendation.

The Beaux Arts, late 1980s-style, is recognizably the same creature as it was at the start of the decade, or even two decades ago. The fingers of Menahem Pressler still twinkle away, the violin and cello exchange angst for mischief in volatile and ebullient alternation. The most obvious comparison for their latest release is the identical Dvorak/Mendelssohn coupling of 1980 on Pearl. Then Daniel Guilet was the violinist, and his comparatively small voice and old-style sweetness make their mark: this Dvorak is a small-scale, kid-glove performance, with the gentle acoustic recessing the violin even further and softening the high-spirited Dumka episodes.

The Beaux Arts, late 1980s-style, is recognizably the same creature as it was at the start of the decade, or even two decades ago. The fingers of Menahem Pressler still twinkle away, the violin and cello exchange angst for mischief in volatile and ebullient alternation. The most obvious comparison for their latest release is the identical Dvorak/Mendelssohn coupling of 1980 on Pearl. Then Daniel Guilet was the violinist, and his comparatively small voice and old-style sweetness make their mark: this Dvorak is a small-scale, kid-glove performance, with the gentle acoustic recessing the violin even further and softening the high-spirited Dumka episodes.