Beaux Trio Dvorak

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.

Dvorák composed four piano trios, and all of them are fine works. The very last, the so-called "Dumky" Trio, has eclipsed the others in popularity, which is a pity, particularly with respect to the Trio No. 3 in F minor. This work, composed at exactly the same time as the Seventh Symphony, is clearly the finest work of its type since Beethoven–and that includes the three trios of Brahms. Perfectly proportioned, emotionally intense, and chock full of incredible tunes, it grabs you from the first note and never lets you go.

Mozart wrote a plethera of fine chamber music in the galante style of the classical era: Quintets for various instruments, string quartets, string trios, string duos, piano trios, violin sonatas and the two magnificent piano quartets here. With these two quartets, Mozart more-or-less invented the genre which was later taken up by Schumann, Brahms and Dvorak. These piano quartets show Mozart in both a dramatic mode in the minor work and a typical merry mood in the major piece.

Is there a better trio than the Florestan playing today? All three members are consummate artists, outstanding instrumentalists, and ensemble players to the manner born, but it’s the playing of pianist Susan Tomes that carries these performances to their greatest heights. Since the ensemble is perfectly judged by all concerned, it may seem unjust to single out the playing of one member for special comment, but such is the extreme sophistication, the extraordinary subtlety and the expressive range of this artist that I can see no alternative. The tonal control, the exquisite shaping of phrases, the rhythmical suppleness and structural backbone are of an order seldom encountered in the playing even of many famous soloists. But what renders her playing here still more remarkable is the exemplary precision with which it’s matched to the different sonorities and qualities of attack, so-called, of the string players. And what players they are. For all of the above this is not a pianist-dominated performance, except insofar as Schubert wrote the piece that way.

The venerable pianist of the Beaux Arts Trio joins the Emerson Quartet for two memorable performances. To the uncommon clarity and rhythmic drive of the string players, Menahem Pressler adds some of his own expansive personality. The mix works beautifully. You can hear every note in the scores, and everything is played with great expression and enough rhythmic tension to keep the music flowing.

Founded 60 years ago by Menahem Pressler, Daniel Guilet and Bernard Greenhouse, the Beaux Arts Trio performed and recorded exclusively for Philips Classics until 1995. Celebrated for their outstanding chamber-music qualities, the Beaux Arts are one of the greatest ensembles in the history of recorded music. This special 60CD box set includes their extensive discography on Philips Classics and encompasses almost the entire piano trio literature.

The music world has known the outstanding artist Menahem Pressler for more than half a century. He was the heart of the famous Beaux Arts Trio, and in 2008, when the trio decided to separate, a memorable solo career restarted. At the age of 90, the grand master of the piano gave his long overdue debut with the Berliner Philharmoniker.