This
looks like another straight repackaging of an earlier EMI
Double Forte issue and it certainly features an all-star
line up. It predictably comes up against some very hot competition,
even in the budget sector, and has qualities that may appeal
to some listeners. I found myself, at times, wanting a different
kind of Schubert playing, but that’s maybe because my yardstick
has always been the cultured refinement of the Beaux Arts’ later
Philips recording, which in turn will not appeal to everyone.
I
guess my major gripe, at least concerning the trios, is that
these youthful players have bags of energetic enthusiasm,
which is mostly welcome, but their playing too often borders
on aggressive or harsh. The opening allegro of the B flat
sets off at the sort of lick that leaves the Beaux Arts flagging
in their wake – and they keep it up throughout the movement.
This allows little time for the more reflective elements
to properly register, though there’s no doubting that this
brand of impulsive grandeur is immensely exciting. The second
subject (2:08) is not as lovingly caressed as the Beaux Arts,
but some may accuse them of loving the music to death, here
and in other places. The andante has grown on me more
as I’ve listened and I’m fast coming to the conclusion that
the recording could have something to do with my discontent.
It is slightly shallow, a bit up front and has the sort of
digital glare that was common in some 1980s recordings. This
tends to give the instruments, particularly the piano, a
rather hard edge, especially in fortissimo passages.
I experimented with some judicious tone controlling and things
improved a bit, but going back to the Philips recording revealed
a beautifully balanced, warm glow that suits the playing
perfectly.
The
big E flat Trio also gets an exciting/frenetic performance,
depending on your view. The great slow movement perhaps suffers
most from a fast tempo, though here I have to say the world
weary tread of the Beaux Arts does begin to sound almost
leaden and dull. Here, and indeed overall, I prefer the new
Naxos disc by the Kungsbacka Trio, well reviewed in these
columns (see review) and having an almost perfect blend of
youthful élan
and poetic gravitas. The recording is vastly superior to
this EMI, having warmth and sharp focus in perfect balance.
When they get round to the B flat Trio, the pair of discs
will still only cost a fraction more than the Gemini and
will be well worth it, assuming they keep their standards
up.
For
now, I guess many readers who happen across this as a bargain
way of getting some lovely Schubert chamber music will not
be too disappointed. I really enjoyed the Grand Duo, but
that’s as much because I haven’t heard it for a while, and
the other short pieces are well brought off, Collard in particular
on sparkling form. It’s worth bearing in mind the Naxos disc
for the E flat, as well as the Beaux Arts - both early and
later digital versions - both of which are mid-price, for
the two trios plus similar extras to this Gemini.
Tony Haywood
Jean- Philippe
Collard (piano); Augustin Dumay (violin); Frédéric Lodéon
(cello) 
