Mozart’s piano trios don’t come out to play as often as Haydn’s, despite being among his finest chamber works. (Similarly neglected are the string quintets, not counting the G minor, K516.) So a new recording of any or all of them is always to be welcomed. This disc adds interest by being performed on period instruments, making it something of a rarity in this repertoire.
The ear is immediately struck by the fortepiano, a 1987 Derek Adlam copy of an Anton Walter instrument from the mid-1790s, which formerly belonged to Christopher Hogwood. It’s beautifully set up, and remarkably little action-noise is captured in the Potton Hall recording. As delightful as it is to listen too, it is evidently a joy to play, and Jan Rautio leads performances notable for their buoyancy and vivacity.
I know from experience that piano trios are notoriously difficult to record and, much as the Rautio players extol the balance advantages of period instruments, this seems to be a problem that has not been entirely overcome. Cellist Adi Tal offers elegant support to the piano’s left-hand lines but Jane Gordon’s violin often dominates. (Neither string instrument is identified in the booklet.) Hers is a full-bodied sound, only occasionally warmed by vibrato, but can become oppressive as sustained notes reach the middle of the bow. Not only that, but Gordon fights shy of exploiting a true piano, meaning that quiet passages are rendered less tenderly than they might have been. The piano in many places is all but swamped by the string tone – which is a pity, as I liked the piano the best. (David Threasher / Gramophone)
