These performances
have been available in a number of guises
over the years, from a large box including
other Beethoven chamber works to the
most recent Double Forte ‘twofer’. This
new Gemini re-issue appears to be exactly
the same as the latter and in the same
lower mid-price bracket.
As to the playing itself,
the Violin Sonatas have a lot of budget
and mid-price competition but can be
fairly safely recommended. Zukerman’s
tone is sweet and plangent, lacking
the rounded, muscularity of, say, Perlman
on Decca but very easy to live with.
Barenboim’s contribution is distinguished
throughout and for me the main pleasure
in these performances. The C minor Sonata
has plenty of drama if fairly relaxed
tempos, especially in the finale. The
‘little’ G major, often thought of as
a counterpart to the ‘Spring’ Sonata,
suits Zukerman’s playing perhaps best
of all, with a lyrical innocence and
easy charm. The grandness of the ‘Kreutzer’
is better conveyed by Perlman and Ashkenazy,
whose bargain Decca disc of Nos. 9 and
10 is, for me, one of the finest things
they ever did, but Barenboim’s full
bodied virtuosity is certainly worth
hearing. The theme and variations unfold
with unfailing naturalness, though Perlman/
Ashkenazy bring more variety and contrast.
The same could largely
be said of the great last Sonata in
G major. Here, Perlman’s playing has
a real eloquence and vitality, matched
by superb attack from Ashkenazy. Zukerman
and Barenboim operate on a lower voltage
but once one adjusts, the rewards are
there, with a poised opening movement,
perky scherzo and rhythmically buoyant
finale. Recording quality is pretty
good, both players caught with warmth
and bloom, and if there is some analogue
tape hiss it’s never too intrusive.
The same can’t be said
of the live, ‘warts-and-all’ version
of the Tchaikovsky Piano Trio, apparently
one of the last live recordings du Pré
made. Balance in the notoriously dry
Mann Auditorium is not ideal, with the
piano rather too backward given its
major contribution. It’s also a poor
instrument, with a bright, clangy upper
register which goes audibly out of tune
as the performance progresses. There
is also noisy hall ambience – including
what could be a squeaky door or chair
at one quiet moment!
Having got all that
out of the way, the playing itself is,
as one would expect from these artists,
full of passion and commitment. I remember
a contemporary review summarizing it
as ‘touchingly indulgent’ and it does
have a heart-on-sleeve sweep that carries
the listener along. It’s not the last
word in accuracy, particularly in some
of Barenboim’s stormier passages, but
the haunting first movement tune is
memorably phrased and builds to a superb
climax. There have been more varied
accounts of the long second movement
theme and variations, such as the super-refined
Freddy Kempf and friends on BIS, but
there’s no doubting the sincerity on
offer here. The recording isn’t ideal,
neither is the tinny piano sound, but
these much admired artists serve the
Tchaikovsky cause well, and at the price
these very well filled discs can be
given a thumbs up.
Tony Haywood
Pinchas Zukerman (violin); Jacqueline du Pré
(cello); Daniel Barenboim (piano) 
