The variety and boldness of invention found in Haydn’s piano sonatas are rewarded by Jeno Jandó’s “no-nonsense, down-to-earth vivacity” (BBC Music Magazine) in this boxed set.
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.
Foerster's piano trios in the first complete digital recording! New recording. The works of Josef Bohuslav Foerster (1859–1951) have deservedly experienced a renaissance in recent years. Following the acclaimed albums of his two violin concertos (SU 3961-2), cello concerto (SU 3989-2) and complete string quartets (SU 4050-2), SUPRAPHON has now released the first-ever digital recording featuring the complete Foerster piano trios. And as in the case of the string quartets, the three piano trios too represent various creative phases, with the first and third being divided by almost four decades.
"The Trio Parnassus has maintained a reputation as one of the finest piano trios in Germany from the latter-twentieth and early-twenty first centuries despite a fair number of personnel changes. The ensemble has developed a reputation for straddling two rather distinctive worlds in its repertory choices: while it plays standards from the Classical and Romantic periods, as well as many twentieth century and contemporary works, it has also devoted much time to the rediscovery of forgotten compositions by nineteenth century composers like Woldemar Bargiel, Joseph Rheinberger, Philipp Scharwenka, and several others…" ~allmusic
Robust? Vigorous? Muscular? None of those adjectives even come close to describing these performances by the French Trio Wanderer of Brahms' three piano trios and G minor Piano Quartet. The opening theme of the Allegro con brio in the B flat Trio has rarely sounded so lushly sonorous. The passage work of the Scherzo in the C major Trio has not often been so incredibly relentless. The unisons at the start of the C minor Trio have never been so immensely powerful.
Perahia’s immaculate technique, stylistic surety, and classical symmetry are remarkably consistent. While his tone is always singing and rounded, lyrical melodies and decorative passages alike convey a slight diamond-like edge to the peak of crescendos or an emphatic accent. This helps achieve an attractive fusion of unruffled poise and dramatic tension. You hear this quite readily in the B-flat K. 456 concerto ‘s first movement, or in the carefully pedaled trills and restatement of the main theme in K. 595’s heavenly Larghetto, also sampled here. Perahia’s symbiotic musical rapport with Radu Lupu in the two-piano concerto and the two-piano version of the concerto for three pianos should not go unmentioned.– Jed Distler