Customer Reviews

Schubert: Piano Trios 1&2

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I feel I need to address Mr. "Santa Fe"'s dismissal of this CD because, frankly, he's missing the point. This is Schubert, not Bruckner, Mahler or Rachmaninoff. This is the *early* Romantic period, and moreover, a particular early Romantic who does not easily fit into that category, let alone any other. Often clumped unjustily with his contemporaries and expected to follow suit by countless historians, critics and audiences, Schubert's legacy has suffered perhaps more than any other "underapperciated" composer. The main problem is we tend to see traits like audacity, bravado and hyperbole as indicative of Romantic composers and with Romanticism itself, yet Schubert's genius clearly was of another vein, one of unparalleled refinement and sophistication that confidently relied on subtlety, understatement and indomitable good taste.

For historical context, both of these trios were written in 1827, the year of Beethoven's death and a year before Schubert's own untimely passing. What they represent is more than Schubert's last works, but the culmination and perhaps apex of Schubert's idiosyncratic Romanticism. By now, European composers were well aware of the stakes as defined by Beethoven's imposing legacy and the seemingly madness-inspired and ferocious genius of his last years. When listening to these trios, however, we find Schubert in a world of his own, indifferent to the course upon which Beethoven has set European music for the next 70 years. Instead of that reckless strain of Romanticism that will eventually give us the likes of Wagner and Mahler, these two works possess their own Zeitgeist that speaks in a patient beauty and knowing poise which, like a wise man who knows truths the fools about him do not, refuse to be rushed, badgered or agitated by fashions that are transistory.

Now, for the this CD: I suppose if one has cut their classical teeth on the hightly stylized performances of "Top 40 Romantics" over the past 60 years, this Braley/Capucon/Capucon CD may at first sound a bit foreign. This is not a performance that "plays it up" for the audience, nor does it apologize for that. It is rather a performance thankfully informed by more recent recognition of Schubert's unique mastery. In some ways, it seems to atone for past sins of performers who blasted and tore through these trios like they were playing a Rachmaninoff concerto, although I do not think that is the purpose of this recording. Rather, I think this is simply highly capable musicians playing worthy music with a humble passion for authenticity rather than conformity to last century's status quo. I applaud this heartily.

With that spirit of authenticity, the result for Braley and the Capucon brothers is far from a "run through" or a "weak tea" performance. I hear plenty of motivation, as well as attentiveness and responsiveness that effectively brings Schubert's vision to life. The three musicians make a strong, well-balanced ensemble which places the music, not individual performances, first. Tempo changes, accents and dynamics are effortless and never overwrought, sensitive to Schubert's preference for subtlety without losing vitality or color. Technically, these performances are near flawless, although it is this ensemble's undeniable musicality and good taste on a level worthy of Schubert which should be enough to win over any openminded listener.

The other two pieces, an earlier Sonatensatz and the Notturno composed around the same time as the trios, should not be overlooked, as they are quite complimentary. I was particularly impressed with this performance of the dramatic Notturno, which highlight's Braley's graceful technique along with the Capucons' evenhanded ensemble playing and responsive dynamics.

There is a reason why Schubert's Piano Trios are used in the soundtracks of films so frequently: the Andante movements from both trios are some of the most soothingly romantic creations Schubert left us. In this recording both the trios - No. 1 in Bb Major and No. 2 in E flat major - are performed by the justly well respected and frequently performing trio of Frank Braley, piano, Renard Capuçon, violin, and Gautier Capuçon, cello. These three men have sensitive communication and are as well matched an ensemble as is playing in this genre today. The phrasing is light and sure and airy and heartfelt. This is a recording of Schubert works played as one would imagine would have occurred in Schubert's time, free of indulgence in pushing phrases for effect and in making the gentle stirrings of the heart sound lugubrious.

A sensitive approach to programming is evident is the far too seldom performed Sonatensatz in B flat Major and the Notturno in E flat major. In both of these smaller works the artistry of each of the trio members is individually well exposed in a manner that allows the listener to more fully appreciate the ensemble status of the Trios. It would be difficult to imagine more thoroughly satisfying performances of these beautiful Trios that this recording. Highly recommended. May 11

Violinist Renaud Capucon and cellist Gautier have become familiar adjuncts to the brilliant Martha Argerich when she gathers friends around her to make chamber music, primarily in Lugano, where EMI goes to record one of the most invigorating summer music events in Europe. The Capucons have been rising steadily, and they had a bit of a hit with their recording of Brahms Piano trios. Here they try to do the same with Schubert's two great trios, in B flat and E flat, but one feels the abswence of great motivation. Pianist Frank Braley is recessive to the point of timidity, no match for others in this repertoire (Rubenstein and Serkin, for example), but the two Capucons aren't exactly on fire, either. They tiptoe with refined care through too much of this music, underplay accents, miss changes in Schubert's emotional tone, and generally produce what I'd call a pleasant run-through. Such is their standing, however, that I anticipate a rave from The Gramophone, a fan of weak-tea chamber-music playing these days.