Customer Reviews

Brahms - Complete Trios: Opp. 8,40,87,101,114

5 star:		(7)
4 star:		(3)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Brahms's chamber music has become a growing source of delight for me, and I'm increasingly coming to see it as his greatest achievement. He did everything, from string sextets to clarinet sonatas, and it was with his chamber music that he truly relaxed and let his gift for lyricism roam free. If his symphonic works were driven by the need to come to terms with and transcend Beethoven, then his chamber music has Schubert's expansive generosity.

These trios are a great introduction, since they are drawn from every stage of Brahms's career. The Beaux Arts Trio offer definitive proof that it's best to go for an established ensemble rather than the superstar collaborations that record companies dream up to try and up their sales figures. There's an instinctive dialogue going on between these three veterans, and Brahms's two later piano trios are exquisitely done. Their approach is relaxed, with none of the reversion to manic keyboard hammering that seems to characterize many interpretations of Brahms's piano trios/quartets/ quintet. Brahms wrote his chamber pieces for clarinet toward the end of his life, and the Beaux Art Trio's interpretation is appropriately, wistfully autumnal. Like Brams's other clarinet music, this piece is very special, and this is the most appealing interpretation I've heard. As for the horn trio, which isn't done by the Beaux Arts Trio, but features an ensemble led by Arthur Grumiaux, they just don't play music this way anymore.

My only reservation has to do with the fact that there are two versions of the Op. 8 Piano: the original, and the revised version which Brahms completed in 1889. Brahms cut great chunks out of the first and second movements in the revised version, which I feel was a shame. The Beaux Arts Trio choose the revised version, and they do a fine job, but I miss the "heavenly length" of the original, where Brahms's youthful vigor is on full display. If you want the original op. 8, go for the (unfortunately quite expensive) Borodin Trio set, but I'd still buy this Beaux Arts release, simply because everything else is done so superbly.

Some of Brahms' best work was in chamber music, and trios like no.3 represent some of the best music for piano, violin and 'cello. The treat here is to have some rarer pieces for horn and clarinet trios. Even the "immature" first trio opens beautifully, and there really is two-CD's worth of material here to offer many rewarding listens.

The Beaux Arts recording is superior to that on offer from EMI, played by the great Ashkenazy, Harrell and Perlman, but lacking the cohesion of these experienced and practically conjoined musicians. Also, it does not have the "bonus" trios.

A great introduction to Brahms, and practically essential for any fans of the grand old German.

After listening to the first movement of the C major I'd agree that it's a shade brisk and perfunctory. I've now listened to this performance of the clarinet trio many times. This is a piece that made no impression on me until I listened repeatedly and studied the score. I now realize that, while it's not a perfectly satisfying masterpiece, it has a subdued, elusive beauty, plus it's a remarkably concise piece. I have a theory that it was written in memory of Schumann. Some reasons: 1) the key of A minor was a favorite of Schumann's, 2) the opening melody for cello resembles the opening theme of Schumann's cello concerto (also in A minor), 3) the climax of the coda of the first movement (bars 194-200) has several Schumannesque descending fifths in the melody, 4) the whole piece has a feeling of sad reminiscence such as one can imagine Brahms would feel late in his own life thinking back on his friend, now dead thirty years. The clarinet trio is played very beautifully with no hint of the perfunctory quality mentioned above in connection with the C major trio. This is great music that deserves to be studied and thought about, not just played in the background.

Addendum (10/2002)...I just want to take back what I said about the C major being perfunctory. I've had many hours of enjoyment from all tracks on these discs, particularly the C major and C minor piano trios and the clarinet trio. That business about "perfunctory" was a very superficial initial reaction. These guys play with fire and sweep...crack open a beer and crank it up!

Christopher Smith is in error in saying that the Borodin Trio's performance of Brahms's B Major Piano Trio, on Chandos CHAN 8334/5, is the original version. The Borodin Trio recorded only the revised version (unless they made a second recording I'm unaware of). So far as I can tell from the Amazon Web listings and old Penguin Guides, the original version has been recorded by the following groups: Odeon Trio, Trio Opus 8, Altenberg Trio, and Parnassus Trio. The last two groups recorded both versions. Apart from listening, one can tell from the movement designations which version one is dealing with. For instance, the first movement was originally allegro con moto and was revised to allegro con brio, and the third movement was changed from adagio non troppo to adagio. Also, I think you will find that the "great chunks" Brahms removed in his revision are from the first and third movements, not the second (scherzo) movement. Incidentally, I would have preferred not to rate this recording, as my purpose is only to make a correction and the Beaux Arts Trio recording I have is another version with a different violinist, but Amazon's system would not let me do so without including a rating, so I have provided a rating that corresponds to the average of the other ratings.

It's nice to be able to pick up any recording by an artist and know without listening to it first that it's going to be good. This Brahms is another example of the solid consistency of the Beaux Arts Trio. Sure, there may be slightly better recordings out there, but this Trio is always right there near the top, and in some cases have the definitive version. The same could be said of Arthur Grumiaux, an underrated violinist, whose performances are always technically flawless. Easily recommended.

Brahms's concerti, symphonies and other large works are deservedly popular. I suspect, however, that these were heavily influenced by a neo-Beethovenian messianic mantle thrust upon him by the nineteenth century German musical establishment. I wonder if the "real" Brahms is to not be found in his smaller scale works of which these Trios are excellent examples.

Whilst his chamber music obviously comes from the same pen as the larger works, the "essence" of Brahms seems more tangible and transparent in the violin Sonatas, Trios and Quartets; this transparency providing a more youthful and seemingly less serious character to his music although the writing, of course, is taken no less seriously here than elsewhere in Brahms's compositions.

Why the Beaux Arts Trio and Arthur Grumiaux enjoy their high reputations is evident from listening to this fine pair of CDs. The wind soloists also are of excellent calibre so in all, these performances are very satisfying and an essential part of a Brahms collection although I would not swap them for the Katchen/Suk/Starker Trios which, whilst different, are no less good.

Much recommended.

Are these really the "COMPLETE trios" of Brahms? Probably not. The posthumous Piano Trio in A is omitted. Ironically, the CD notes include a full paragraph about the missing trio, saying it is likely authentic Brahms.

Philips does penance by including the missing trio in their set of Brahms Piano Quartets, also featuring the Beaux Arts--and a CD booklet that casts doubt on the authenticity of the piece, for the benefit of those who just bought it!

Then there's the omission of pianist Menahim Pressler from the cover and back of the box (and from the cover of the Piano Quartets set too--where he plays in every piece). He deserves mention because he does a sterling job in both sets--and he's the only one completely left out. I think he needs a new agent.

Your best bet is to roll your eyes a little and buy both sets, because they're a great bargain and the performances are first-rate. The Trio in A is well worth having, whether it is Brahms or not. The Perlman/Ashkenazy/Harell set also includes it (but despite slightly better sound they don't match these performances).

The Horn Trio presents the issue of whether the horn should be greatly toned down to match its weaker partners or allowed to play with more of its natural force. If you favor the former approach, this set features the one for you. Otherwise you might prefer Tuckwell (with Perlman and Ashkenazy).

This set is a treat for any Brahms lover. Excellent performance, elegance, depth and profound understanding. True Brahms !!!

This is a great collection by a great group. The Op 8 is an interesting contrast with the later recording (which, actually, I prefer).

The three trios on the "B" CD especiall show the emotional depth of Brahms later life chamber music. The Clarinet Trio is well rendered with a supple, yet reserved, but not austere, style.