Customer Reviews

Dvorák - Complete Piano Trios

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Dvorak is famous for the cheerful Czech rhythms that abound so persuasively in his Slavonic Dances of the 1870s. Yet most of these trios temper that cheerful side with a dramatic eloquence that borders on the mournful. Dvorak wrote his G minor trio shortly after the death of his newborn daughter, Josefina, and you can almost feel as if the desperate and frenetic energy in the Scherzo is Dvorak's attempt to bury his grief in the healing salve of his music.

This is not to say that these recordings are outwardly depressing - simply more pensive and meditative than some of his other works. The Dumky is a perfect example. The term Dumky comes from a Czech word roughly translated as "to ponder or brood", and the Dumky ably embodies that mood. The cello often leads with somber rumination before the other instruments join in.

The trio in F minor, however is easily the supernova among all these wonderful trio stars. Now there are many people who praise the Dumky with great gusto without saying a peep about the other trios. Sometimes I want to smack these people, and if you listen to the trio in F minor you'll know what I mean. If you listen you'll notice that the F minor trio is melodically much stronger than the Dumky and much more poignant. Of all the trios, this is the one that embeds itself in the psyche and won't let go.

All in all the primary reason to own this recording is for the lushly expressive F minor work. Additionally, those with a special fondness for the cello will find satisfaction here. Dvorak wrote what is arguably the best cello concerto of all time; but here in these trios, he engages the cello's strengths just as skillfully.

This is yet another excellent compilation of the great recordings made by the Beaux Arts Trio when its lineup included Isidore Cohen as violinist and Bernard Greenhouse as cellist as well as pianist Menahem Pressler. These are lively, exciting performances replete with warmth and Slavic charm, gracefully played by these exceptional musicians. Of course, the highlight is their exquisite performance of the "Dumky" trio, but the others are equally compelling. This is one of the highlights of my CD collection of Dvorak's music; it should be yours too.

The beaux arts' performances of these trios, like most recordings of their golden period, wih Cohen and Greenhouse, set a benchmark, for both the technical as well as the emotional depth in the interpritation of chamber music... Their tension and beauty, particularly of Isidore Cohen's distinctive tone, thrills the heart, as much as the ear.

Dvorak's immense talent as composer of chamber works deserve to him, even a major status that most of people tend to estimate. The spirit of eloquency, sheer lyricism and brisky musicality make of this set a true must-have.

Don't miss this set under any pretext.

This 1969 recording of the Dvorak Trios is exquisitely well played, originally recorded, and later transferred to CD. The 1996 transfer to digital should prove to all the sonic excellence of well-recorded analog tape. There is hardly any discernable tape noise, excellent miking, excellent instrument sound, great ambience, etc. This is a top quality recording in terms of the engineering arts. It is wonderful that the master tapes of excellent analog recordings like this were so well preserved.

The performances are similarly excellent, as one would expect from the Beaux Arts Trio. Pressler, Cohen and Greenhouse work together perfectly and also bring out the individuality of the parts wonderfully. It's clear that Dvorak's approaches to the trio evolved over the course of the four compositions, culminating in the strongly-slavic "Dumky". Re-listening to the third trio in F minor, it may be my favorite for it's coherence, expressiveness and poignant beauty. The Dumky is more of a meditation on several Slavic themes. The earlier trios may be more likely to bear some similarity to Germanic works such as Brahms'. In all of Dvorak's trios, there is a freedom and dynamic approach to the themes that feels more open-minded, cosmopolitan and universal. Where composers like Beethoven at times appear to rebel against the confines of their German culture, Dvorak inhabits a broader world as a wide-eyed explorer. Dvorak's result is liberating and refreshing.

These trios have stylistic roots in a European tradition, but feel like distinctly new music. Perhaps Dvorak's time visiting, conducting and composing in America has some influence on his worldly viewpoint. These works remind me of American composer MacDowell more than the German Romantic tradition which Dvorak's formal musical training came from. Wherever the style of these trios can be traced to, the result is outstanding. These are compositions of the first order; phenomenal music, and these performances by the Beaux Arts do them full justice.

This recording is both technically and artistically exemplary.

In 1969, The Beaux Arts Trio made a truly stellar recording of these beautiful trios by Dvorak that has stood alone, ever since. There is a remarkable balance of timbre among the instruments, without that excessive "edge", as in the Guarneri trio recording of these Dvorak works. The tempo is equally integrated and their phrasing, all go to make a remarkable music experience. The Philips sound engineering is crystal clear without "pushing" the sound. What a delight and bargain price. Enjoy!

Well, these are classic performances, and if you don't have them already I really see no reason to hesitate. These Beaux Arts performances were first released in 1971, and the recording is warm, vivid and realistic. As for the performances themselves, special praise must go to Menahem Pressler's piano playing, which is more nuanced, better phrased and more wonderfully integrated into the overall sound picture than any other performance I have heard (I think) in any of the works. But one should not take that point to cast doubt about the quality of the performances as wholes. This is playing the sparkles and glitters - the lines are gloriously shaped, the textures marvelously rich and detailed, and the momentum always stirringly realized. They sound equally committed in the two earlier (and very fine) works as they do in the two more famous trios. Hence, although there are certainly worthwhile alternative versions to have, and I dare not claim that the Beaux versions outclass all other recordings, these are performances that have to be heard, and they would make an excellent first choice (or first stop for anyone still unfamiliar with the wonderful music). Very strongly recommended.

Okay, I have to be honest, I don't own these CDs, though I have listened to them a little, which is what's most important. What I simply must tell to the prospective buyer is that there is one part about 40 seconds into the scherzo of the g minor trio that is absolutely atrocious on the part of the violinist, where he (Isidore Cohen, who for the record I think has a nasty tone in general although many people would disagree) goes flatter and flatter on an upward run landing on the note of the climax of the section about halfway between two pitches! To be quite honest, it's absurd that they didn't do another take, because it's pretty painful, yet entertainingly bad, to listen to. If you can enjoy Isidore Cohen's tone, though, this should be a good buy overall.