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Site review by Geohominid November 8, 2007
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Performance: Sonics (S/MC): / |
Piano trios are notoriously difficult for recording engineers to balance. Exton, however, have done a very good job for this disc of Brahms op. 8 and op. 87. The instruments are grouped nicely between and somewhat behind the front loudspeakers, with the piano clearly behind the strings. aided by discreet ambiance from the rears. Both the DSD 5.0 multi and stereo layers do not allow any of the instruments to predominate in full ensemble, even at loud climaxes. There is a realistic dynamic range, with the detailed tonal characteristics of piano, violin and cello each allowed to come through naturally. I could only wish that the Minobu General Arts Hall in Yamanashi had been allowed to add a little more bloom to the sound.
This is the first time I have encountered the Naniwa Trio. They have clearly given the Brahms trios deep thought and are evidently very familiar with them; this is no mere run-through for recording purposes. String tone is sweet and singing, and the piano playing is well-pedalled and clearly articulated, but weighty and passionate when required.
The Brahms Trio No. 1 is played in its 1889 revision, Brahms having reduced the lengthy discourses in the first movement, but still leaving it (at around 14 mins) as much the longest of the four movements. In some ways, this work reminds me of Beethoven's Archduke Trio, where he began to use quite long melodies in his sonata forms, rather than short motifs which are more easily developed. Brahms begins with a glorious long-breathed melody, which is as warm and sincere as an embrace from a long-lost friend. The Naniwa play it with real warmth and dignity, and build up to its first climax superbly. Listen to the pianist's urgent, articulated left-hand figuration at this point, adding tension and power to the emotional surge, a detail which many recordings only manage as a general rumble. Overall, the Naniwa do a fine job with this long movement, keeping the structure clearly in mind, and it never seems too long. In the characteristic Brahmsian loud rhetorical sections, they never bang and scrape but show off the passion and grandeur of the music with careful dynamic grading.
I particularly liked the crepuscular opening to the following scherzo, with brittle tone and tense rhythms, a perfect contrast to the lyricism of the first movement, the atmosphere shattered by a surprise explosive piano chord. This movement is played with wit and great character, melting beautifully into the lilting Ländler-like trios. The Adagio, too, is most sensitively played; reflective, with balanced and blended ensemble as the chorale melody passes into string duetting, the nutty tone of the cello being particularly pleasing. The final Allegro opens a little tentatively, but bursts into a truly joyful statement of the flowing principal melody, leading to a rich and triumphant conclusion.
The C major trio op. 87 is in more serious classical vein, but is again given a deeply considered reading. I particularly liked the Andante con moto, where a grave theme is taken into a stunning set of Brahms variations with tremendous commitment and virtuosity from all the players.
This is a fine rendition of the piano trios, certainly in the orbit of such favourite versions as the Borodin Trio, the Florestan and the Beaux Arts and far better than some of the recordings by groups of stellar soloists. Well worth consideration if you are looking for an SACD of these wonderful chamber works.
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Copyright © 2007 John Miller and SA-CD.net
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