Rautio Piano Trio MOZART Piano Trios KV 502, 542, 564

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)