Document

  1993
    August 1993
        Chamber
                Brahms Trios.

Brahms TRIOS. ^abd Beaux Arts Trio (^ab Daniel Guilet, vn; Bernard Greenhouse, vc; Menahem Pressler, pf); ^d George Pieterson (cl); ^c Arthur Grumiaux (vn); ^c Francis Orval (hn); ^c Gyorgy Sebok (pf).

Philips Duo (Mid price) (CD) 438 365-2PM2 (two discs: 130 minutes: ADD). Items marked ^a from SAL3627 (1/68), ^b SAL3628 (1/68), ^c 9500 161 (1/77), ^d 6768 146 (9/80).

Piano [Trio] Trios—No. 1 in B, Op. 8^a; No. 2 in C, Op. 87^a; No. 3 in C minor, Op. 101^b; A, Op. posth.^b. Trio for Horn, Violin and Piano in E flat, Op. 40^c. Trio for Clarinet, Cello and Piano in A minor, Op. 114^d.

Though Menahem Pressler occupies the piano stool, collectors should note that the Beaux Arts Trio encountered here is not that which recorded Brahms's trios for violin, cello and piano some five years ago, but the original team with Daniel Guilet as violinist and Bernard Greenhouse as cellist. Now just a quarter of a century old, their performances come up with welcome tonal ripeness and warmth in this half-price (i.e. two CDs for the price of one) twin-pack. The playing itself I can best describe in a nutshell as totally committed (try the proud Hungary-inspired Andante con moto of Op. 87 as a sample of these artists' vividness and verve) even if just once or twice (as in the pesante second subject of the B major Trio's finale) the pianist's enthusiasm oversteps discretion. In the Clarinet Trio balance too often goes against Greenhouse's lovely lyrical cello, as it sometimes does against the horn itself in the Op. 4 Trio, played affectionately, albeit with less than its full vigour by a different, less vibrantly recorded group (Grumiaux, Orval and Sebok). Space precludes the inclusion of the unauthenticated yet wholly typical youthful Trio for violin, cello and piano so gallantly brought into the catalogue by the Beaux Arts way back in 1968. Too bad. But it's splendid value for money, all the same.

JOC



		Though Menahem Pressler occupies the piano stool, collectors should note that the Beaux Arts Trio encountered here is not that which recorded Brahms's trios for violin, cello and piano some five years ago, but the original team with Daniel Guilet as violinist and Bernard Greenhouse as cellist. Now just a quarter of a century old, their performances come up with welcome tonal ripeness and warmth in this half-price (i.e. two CDs for the price of one) twin-pack. The playing itself I can best describe in a nutshell as totally committed (try the proud Hungary-inspired Andante con moto of Op. 87 as a sample of these artists' vividness and verve) even if just once or twice (as in the pesante second subject of the B major Trio's finale) the pianist's enthusiasm oversteps discretion. In the Clarinet Trio balance too often goes against Greenhouse's lovely lyrical cello, as it sometimes does against the horn itself in the Op. 4 Trio, played affectionately, albeit with less than its full vigour by a different, less vibrantly recorded group (Grumiaux, Orval and Sebok). Space precludes the inclusion of the unauthenticated yet wholly typical youthful Trio for violin, cello and piano so gallantly brought into the catalogue by the Beaux Arts way back in 1968. Too bad. But it's splendid value for money, all the same.