Schumann: The 3 Piano Trios/Fantasiestucke

Robert Schumann (Composer), Borodin Trio (Orchestra), Luba Edlina (Performer) | Format: Audio CD

Product Details

• Performer: Luba Edlina
• Orchestra: Borodin Trio
• Composer: Robert Schumann
• Audio CD (October 28, 1992)
• SPARS Code: DDD
• Number of Discs: 2
• Label: Chandos
• ASIN: B000000AKI
• In-Print Editions: MP3 Download
• Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #568,923 in Music (See Top 100 in Music)

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1 of 1 people found the following review helpful:

5.0 out of 5 stars The Highway to Hell ?, October 1, 2011

By 

Bernard Michael O'Hanlon (Wilsons Prom, Australia) - See all my reviews

This review is from: Schumann: The 3 Piano Trios/Fantasiestucke (Audio CD)

In the eyes of some, Schumann's piano trios signpost his descent into madness - though it has to be said that the composer's longstanding inability to develop his thematic material could also be in play. As a collection, they are clearly uneven.

Demonstrably, the best of them is the D Minor: Schumann uses a hitherto-unquoted chorale in the first movement to buttress its development. There is also an elán to its finale: perhaps he overplays it, but the main theme is a stupendous creation. All in all, if Opus 63 is not a masterpiece it ain't far off. Likewise, the first movement of the F Major is an unqualified success. Klara seems to hover angelically over the two inner movement of the F Major: they are memorable. Schumann's inspiration, however, tapers off in the finale.

The G Minor starts off promisingly but it soon loses impetus with repetition and poxy little gestures - perhaps in its own way, it is trying to say something about those 'black dog' days we all experience as human beings. The Scherzo is a good example of a 'dog chasing its own tail' - the theme is too shortwinded for Schumann to exploit. Much the same could be said of the finale: Schumann tries to replicate his triumph in the D Minor but the theme lacks the amplitude of its predecessor - so he flaps around for the most part on the tarmac. Far more than the other two pieces, Opus 110 underwrites the theorem that Schumann's tertiary syphilis became more and more of a hinderance to his creativity in the lead up to the 'Lacrimosa dies illa'. Or alternatively, it just might be a misfire.

The hideous cover aside, the Borodin Trio play with more overt passion and drama than the Beaux Arts Trio Schumann: Complete Piano Trios: I do prefer the former in the finale of the D Minor where they readily sweep one up in the elation. I have both collections and I would not want to be without either. The Borodins are sensitively recorded and balanced. Opus 88 is a nice bonus.

All in all, this is a fine survey. If you love Schumann, these works need to be represented in your collection even if they raise more questions than what they answer.