A magnificent cycle - superb interpretations that haven't been superseded
The Beethoven piano trios have been at the hub of the Beaux Arts Trio's repertoire throughout its long history. Despite a series of personnel switches, the group's approach to Beethoven has remained outstandingly consistent for more than 40 years. The first ever Beaux Arts Beethoven set is currently available in Philips' "The Early Years" series. It was produced during the mid-1960s and did not include transcriptions of the Op. 20 Septet or Second symphony. When Isador Cohen replaced founding violinist Daniel Guilet in 1968, the group (which also included the pianist Menahem Pressler, longest serving member of the ensemble, and cellist Bernard Greenhouse) would not return to Beethoven for another decade.
The Beaux Arts Trio performs all of this music with their customary musicality and expertise - David Hurwitz
The Beethoven piano trios have been at the hub of the Beaux Arts Trio’s repertoire throughout its long history.
Made during the late Sixties and early Seventies, this iconic recording of Beethoven's duos and piano trios brings together three of the world's finest musicians: Zukerman, Barenboim and du Pre. The compilation reveals the players' intent on extracting the ultimate in expression; also featuring a live performance of Tchaikovsky's A minor Trio, it's combination of youthful exuberance and interpretative flair remains undiminished.
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.
Asked to provide a capsule characterization of the Beethoven trios as opposed to the many other fine ones that the Istomin-Stern-Rose Trio performed, Isaac Stern offered the summation that "Beethoven is constantly driving himself and his performers in a way unknown to any other composer. There is none of the romantic levity one finds in the works of others. He is always deadly in earnest, even when introducing a lighter touch for contrast….."Irving Kolodin