Franz SCHUBERT (1797-1828)
Piano Trio No. 1 in B-flat major, Op. 99, D. 898 [35:55]
Piano Trio No. 2 in E-flat major, Op. 100, D. 929 [40:35]
Paul Badura-Skoda (piano), Wolfgang Schneiderhan (violin), Boris Pergamenschikow (cello)
rec. 1984, Grosser Sendesaal ORF Funkhaus, Vienna, Austria (Op. 99); live, 5 August, 1981 Salzburger Festspiele, Wiener Saal, Mozarteum, Salzburg, Austria (Op. 100)
GRAMOLA 99176 [76:36]
Paul Badura-Skoda (1927-2019) died this past September. This disc was coincidentally issued by Gramola just weeks before. Now of course it can serve as a tribute to the fine artistry of this long-lived pianist. He remained active in the concert hall into his nineties, and gave his last recital in May, 2019. Some critics did not regard him as one of the great virtuosos of his day, but he played many works that require an all-encompassing technique, and played them well. True, he was not the flashy sort of pianist like Horowitz and so many others today, but he was immensely talented, and he performed and recorded a broad range of repertory, including much chamber music.
In the piano trio realm, Badura-Skoda usually collaborated with violinist Jean Fournier and cellist Antonio Janigro both in the concert hall and on recordings – many recordings – and typically received favorable critical response. As far as I can determine, this is his only recording with violinist Wolfgang Schneiderhan and cellist Boris Pergamenschikow, but together they perform with a naturalness and instrumental balance that would convince many listeners they played as a team many times previously. Actually, because the recording dates of these performances are separated by three years, that would suggest they did collaborate on at least several occasions.
The performances were originally issued on an Ex Libris LP set in 1986. The first work on the disc is the Op. 99, a rather light work and not nearly as complex and profound as its E-flat sibling, but nevertheless a fine piece. The tempi are generally moderate to slightly brisk. The playing effectively conveys the character of the music, and the players delivering a very spirited performance that goes to the heart of the piece. That does not mean Badura-Skoda lightens his touch or the string players hold back their attacks. They capture the stately yet playful character of the first movement’s main theme, as well as the elegant Romanticism of the alternate theme. Badura-Skoda’s dynamics are subtly applied throughout. Both violin and cello exhibit a fine, accurate tone, and often let their instruments sing beautifully and passionately. They play the lovely second movement with a fine sense for its lyricism and warmth; the music seems at moments to foreshadow both Schumann and Brahms. The playfulness of the third movement comes through brilliantly here. Badura-Skoda employs just the right touch throughout, and the strings make the notes dance and sing delightfully. The trio of players deliver the joy and triumph of the finale in fine style straight through, and the coda is especially brilliant.
In the E-flat major Trio, again the tempi are moderate to very slightly brisk. The mysterious and sometimes agitated character of the first movement is realized to strong effect here, the back-and-forth exchanges and ensemble playing in general natural and seemingly effortless. The second movement begins with beautiful phrasing on the cello, and then Badura-Skoda plays the theme in the same sensitive spirit. The violin introduces the second subject and makes it sing, bringing a moment of sunlight to the darkness. The stormier sections that come later are effectively realized by the threesome. In the end, one comes away with a sense of great struggle throughout this panel, as sadness leads to defiance and desperation. The ensuing Scherzo effectively brings an oasis of freshness and exuberance. Badura-Skoda plays the opening of the finale with an infectious playful sense, and his colleagues join in and maintain the mirthful mood. I really liked Schneiderhan’s slashing strokes on the violin in the second subject of the second theme, and throughout this section everyone plays the fast music so well. The same can be said for the remainder of the movement, especially in the reappearances of the haunting second movement main theme. Again, a fine performance.
Despite the live origins of the Op. 100 Trio, I think the sound is somewhat better than in the B-flat major. Still, in both works the sound reproduction is good for its time. For those who may wonder about the version used in Op. 100: it is not the manuscript or original one, which is sometimes played today, restoring the repeat and cuts in the finale which friends advised Schubert to make. Also, repeats are an issue in the Scherzo, as it is shortened here to 4:46; a typical “complete” performance usually lasts around seven minutes. Personally, I believe eliminating repeats in these works – and in more than a few Schubert’s other works – is not a bad decision. On the back cover of the Gramola cardboard CD holder, the Op. 99 is listed erroneously as B major instead of B-flat major.
Badura-Skoda recorded these trios in the mid-1950s with Fournier and Janigro for the Westminster label. I am not familiar with those performances but can surmise their sound reproduction would hardly be ideal: at least one of the trios (Op. 100) is in mono. As for the other competition, the Beaux Arts Trio on Decca would be my first choice in these works. That said, I have some older performances on record that I would never choose over this one on Gramola, which must be regarded as a fine alternative choice to the Decca. Fans of these performers will certainly want to have it, especially the more than few Badura-Skoda admirers.
Robert Cummings
