The unusual item here is Saint-Saëns’s Second Piano Trio of 1892, of
which the Fidelio Trio give a performance of terrific impetus and
refinement. It would be all too easy to fall into the trap of inflating
the opening movement – by far the longest of the five – since the busy,
red-blooded piano accompaniment to the strings’ main theme can threaten
to take on a life of its own. In terms of texture, though not by any
means of thematic substance, Tchaikovsky’s Piano Trio, completed in
1882, comes to mind as a score that in realms of instrumental balance
requires similarly careful thought. The Fidelio have done their thinking
for the Saint-Saëns and the result is superb: you certainly know that
the piano is working hard with all those arpeggios and rapid,
keyboard-crossing chords, but the performance is all of a piece, with
the violin and cello speaking with just as much authority and élan.
The whimsy of the second movement’s lopsided 5/8 rhythm is nicely etched in; the cello’s languid theme in the central Andante is beautifully done and finds a perfect match when the violin joins in. The lighthearted Grazioso
fourth movement forms an emotional breather before Saint-Saëns returns
in the finale to the mood of the opening movement with all his
seriousness of craftsmanship and propulsive energy.
The Fidelio’s interpretation possesses admirable clarity and definition, polish and brio, qualities they bring also to a very
different world of sound in the Ravel Trio. In both works their
interpretative touch is secure, their rapport instinctive. Together with
their eloquence and passion, this all adds up to something special. (Geoffrey Norris / Gramophone)
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