Warmly recorded this 
                disc manages to avoid the pitfalls of 
                some church acoustics. The Czech Trio 
                – an august name – now comprises Dana 
                Vlachová (violin) – not to be 
                confused with Jana Vlachová of 
                the (new) Vlach Quartet - Miroslav Petráš 
                (cello) and Milan Langer (piano), three 
                distinguished players and all teachers 
                at the Prague Conservatoire. The programme 
                is conventional, Mendelssohn and Tchaikovsky, 
                and there are few idiosyncrasies or 
                annoying quirks. 
              
 
              
The Mendelssohn receives 
                an attractive performance though somewhat 
                slower than is the norm. I sense that 
                the Czech Trio values strength and architectural 
                solidity over incidental felicity and 
                to this extent the performance doesn’t 
                altogether take wing. Some of the phrasing 
                in the slow movement could be more affectionate, 
                though the Scherzo is very fluent and 
                incisive. In the Finale however the 
                tempo is stern and the playing relatively 
                unyielding. 
              
 
              
I get the feeling that 
                the Tchaikovsky Trio engaged them rather 
                more. Compared to the live recording 
                of the Oscar Shumsky-Charles Curtis-Earl 
                Wild trio, made in 1979 at Carnegie 
                Hall and just released by Ivory Classics, 
                we can hear the Czech Trio’s more veiled 
                introspection. They catch the lyrical 
                nostalgia at the heart of the opening 
                movement whilst also managing to maintain 
                musical tension and their playing of 
                the second variation of the second movement 
                is most elegant. There were moments 
                when I felt that shaper etching would 
                have brought greater rewards, such as 
                the Fugal Variation, No 8. The finale 
                is cohesive and attractive; they lack 
                the opulent tonal ensemble of some other 
                trio pairings but turn in a musical 
                performance. 
              
 
              
Jonathan Woolf 
                
              
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