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Amazon.co.uk Review
Schubert's two piano trios are the products of his last years when, knowing that he was ill and dying, he still managed to produce dozens of songs and chamber music masterpieces, as well as pursue counterpoint studies and make plans for further orchestral and stage works. Add to this the earlier String Trio and a couple of miscellaneous single movements, and his output in "trio" form is complete. Both of the piano trios are typically large works, generously stuffed with first-rate tunes, some of which you may recognise without knowing exactly where they came from. These excellent performances at a "twofer" price offer the most convenient and cost effective way to get to know this marvellous music. --David Hurwitz
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Customer Reviews
Most Helpful Customer Reviews
18 of 20 people found the following review helpful
Format:MP3 Download
The Beaux Arts Trio capture the mood of the B flat Piano Trio to perfection: Schubert at his most genial and charming, very similar in mood to the Trout Quintet. So also the Notturno. But the E flat trio is a far more serious, profound work and in my opinion their interpretation misses its tragic depth, especially in the slow movement which is altogether too jolly and jaunty.
The Grumiaux Trio give a characteristically faultless performance of the String Trio.
So of the major works on these discs, two are very good, one indifferent.
The Grumiaux Trio give a characteristically faultless performance of the String Trio.
So of the major works on these discs, two are very good, one indifferent.
43 of 49 people found the following review helpful
Format:Audio CD
Schubert's chamber works are unassuming and genial, abounding in sunny melodies, gorgeous harmonies and moments of great beauty. The playing on these disks is always wonderful, the musicians commune with one another perfectly. The tone quality is perfect at every turn. Their techniques are brilliant, their sense of melody and forward motion amazing. The Bb piano trio is particularly well captured with a sense of great spontanaity. The Notturno is also very beautiful, this piece will no doubt surprise you in it's lush beauty, even if you know a lot of Schubert. If only this could have been a ten disc set of trios by Schubert........
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
11 reviews
68 of 73 people found the following review helpful
One Schubert CD YOU Should Get
23 April 2001
Format:Audio CD
There just doesn't seem to be quite the equal for their interpretations of the classical repertoire, but even among the numerous remarkable recordings the Beaux Arts Trio has produced, this gorgeous rendering of Schubert decisively stands out.
Trio No.1 in B flat Major is my favourite pick, with all of its very expansive movements (length-wise, rather than musically, which often make the piece sound boring in lesser hands) treated with extremely delicate and tasteful pacings. One more thing that is very noticeable is the lyricism of the cello tone that almost resembles that of a human voice; it is so light and transparent, as perfectly exhibited in the second movement of the Trio No.1, that at times it could be mistaken for violin.
This is one Schubert recording you should not miss, and I actually think I like this more than the overplayed (although very much deservedly) Trout Quintet. Enjoy!
28 of 28 people found the following review helpful
A Hidden Gem Worth Taking Without Hesitation!
20 Oct 2005
Format:Audio CD
The Grumiaux Trio and the Beaux Arts trio are highly respected groups in the domain of chamber music and rank as highly as groups such as the Guarneri Quartet. These earlier performances of Schubert are exquisite in their execution and the only defect here is perhaps a slightly reduced sound quality than your typical contemporary performances due to its age. This is barely noticeable however and this CD is really a steal for the price.
The trios of Schubert are a good way of exploring various periods of his life in which he composed drastically different arrangements. His Piano Trio D. 28 is a good example of his foundations in Mozart and early Beethoven until you reach his Piano Trio D. 929 (performed often in Kurbrick's 'Barry Lyndon') where Schubert explores much more on impressionistic themes than romantic ones. Such themes were only pursued later by composers such as Brahms and Schumann. Liszt's romanticism was also stongly influenced by both Beethoven and Schubert. Of the performances I really have nothing to say as they are simply flawless and there are few I could compare. The sound has some disadvantages but not really significant ones.
This is really a magnificent performance giving you Schubert's complete trios on two CDs. For the quality of performance you get it's a bargain. I am glad I got it as it was worth every dollar.
The trios of Schubert are a good way of exploring various periods of his life in which he composed drastically different arrangements. His Piano Trio D. 28 is a good example of his foundations in Mozart and early Beethoven until you reach his Piano Trio D. 929 (performed often in Kurbrick's 'Barry Lyndon') where Schubert explores much more on impressionistic themes than romantic ones. Such themes were only pursued later by composers such as Brahms and Schumann. Liszt's romanticism was also stongly influenced by both Beethoven and Schubert. Of the performances I really have nothing to say as they are simply flawless and there are few I could compare. The sound has some disadvantages but not really significant ones.
This is really a magnificent performance giving you Schubert's complete trios on two CDs. For the quality of performance you get it's a bargain. I am glad I got it as it was worth every dollar.
15 of 15 people found the following review helpful
Of bright world and master music
3 Aug 2009
Format:Audio CD|Amazon Verified Purchase
Straight off, the five stars are for the two major works of this double CD. They stand on a higher plane than four secondary pieces also included in the set. The B flat and E flat piano trios are among Schubert's best chamber music compositions; they don't (can't) reach the peaks of his C major string quintet, but then nothing else in chamber music does except Beethoven's late quartets. Robert Schumann praised both works. Of the B flat trio he wrote that it made "the troubles of our human existence disappear and all the world is fresh and bright again." And in reviewing Mendelssohn's D minor piano trio he said it was "the master trio of the age, as were the B flat and D major trios of Beethoven and the E flat trio of Schubert in their times."
Here then is one trio that brightens our lives and another that was the master trio of its time!
From the first movement's confident opening theme to the finale's outpouring of cheer, the B flat trio offers beguiling rhythms -- just listen to the piano's pearly right hand notes -- and beautifully worked out melodies. In the second movement the cello introduces the lyrical first theme; when the violin joins in, the melody becomes an exquisite duet sung by the strings, accompanied softly by the piano. Such music doesn't play itself. It takes understanding and perfect ensemble to bring it off, and Beaux Arts Trio typically rises to the occasion. The third movement is a sprightly scherzo; its middle section, an airy waltz that reminds us of Schubert's Viennese bonds. To cap it all, the finale presents one joyful expression of three wonderful players making music.
Beaux Arts Trio's accomplished performance continues in the E flat trio -- an intricate work that's rhythmically vital and rich in melodic material. It's difficult to approximate in words what it's like. It bears listening to many times, never wearing thin. The first movement combines drama with lyricism. The principal theme of the second movement, one of subtle beauty, is introduced by the sonorous voice of the cello; it provides passages of pure magic, with the piano accompaniment adding to the magic. There follows a fascinating canonic scherzo movement, before a finale that is almost entirely rhythmic from beginning to end; almost, because twice the sonorous cello comes in intoning the beautiful principal theme of the second movement, a wonderful touch by Schubert that adds unity to the trio. Those who think the last movement is too long may be referring to the original unabridged version. But Schubert himself authorized cutting out two passages, and the result I find not one bit too long. Indications are that Schubert valued this trio highly. In 1828, a few months before he died, he arranged a concert in which the E flat trio featured as the main work of the program. By any standard, this is truly master music.
Here then is one trio that brightens our lives and another that was the master trio of its time!
From the first movement's confident opening theme to the finale's outpouring of cheer, the B flat trio offers beguiling rhythms -- just listen to the piano's pearly right hand notes -- and beautifully worked out melodies. In the second movement the cello introduces the lyrical first theme; when the violin joins in, the melody becomes an exquisite duet sung by the strings, accompanied softly by the piano. Such music doesn't play itself. It takes understanding and perfect ensemble to bring it off, and Beaux Arts Trio typically rises to the occasion. The third movement is a sprightly scherzo; its middle section, an airy waltz that reminds us of Schubert's Viennese bonds. To cap it all, the finale presents one joyful expression of three wonderful players making music.
Beaux Arts Trio's accomplished performance continues in the E flat trio -- an intricate work that's rhythmically vital and rich in melodic material. It's difficult to approximate in words what it's like. It bears listening to many times, never wearing thin. The first movement combines drama with lyricism. The principal theme of the second movement, one of subtle beauty, is introduced by the sonorous voice of the cello; it provides passages of pure magic, with the piano accompaniment adding to the magic. There follows a fascinating canonic scherzo movement, before a finale that is almost entirely rhythmic from beginning to end; almost, because twice the sonorous cello comes in intoning the beautiful principal theme of the second movement, a wonderful touch by Schubert that adds unity to the trio. Those who think the last movement is too long may be referring to the original unabridged version. But Schubert himself authorized cutting out two passages, and the result I find not one bit too long. Indications are that Schubert valued this trio highly. In 1828, a few months before he died, he arranged a concert in which the E flat trio featured as the main work of the program. By any standard, this is truly master music.
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