Franz Schubert (1797-1828)
Piano Trio No.1 in B-flat, Op.99, D. 898
Piano Trio No.2 in E-flat, Op.100, D. 929
Felix Galimir (violin)
László Varga (cello)
István Nádas (piano)
rec. 1957
FORGOTTEN RECORDS FR1913 [66]
This recording of Schubert’s two Piano Trios derives from a Period LP (SLP 735). Period Records was an American record label founded in 1949. It had a large catalogue of classical and operetta recordings, in addition to jazz and popular music. The classical side was high-end, and the recordings today are collectable and well-regarded by audiophiles for their pristine recording and pressing quality. The label went out of business in 1958, and was later acquired by the Everest Group in 1965.
These Trios were set down in 1957 and, I have to say, the recording quality for their age is superb, with a pleasing balance set between each instrumentalist. The performers are Felix Galimir (violin), László Varga (cello) and István Nádas (piano). Galimir, together with his three sisters, had formed the Galimir String Quartet in 1927, initially to commemorate the 100th anniversary of Beethoven’s death. The Quartet was short-lived, lasing only until 1936. My internet searches have so far only found these Schubert Trios where Galimir joined forces with Varga and Nádas in the studio.
Schubert penned his two Piano Trios near the end of his life in 1827 and 1828. Both are large-scaled, with the Second’s length promoting rejection from one publisher, before it was finally published by Probst in late 1828. Each overflows with endearing melodies, colourful harmonies and a variety of rich textures.
The performances are musically refined and rewarding, bolstered by natural phrasing and the sustaining of long singing lines. The tempi the players choose seems just right, and adds to the convincing nature of the readings. The players have a real tangible affection for the music. To illustrate this I would single out especially the slow movement of the B flat Trio, where the warmth and tenderness they convey adds an element of intimacy to the endeavour. Exposition repeats in the first movements, however, are not observed. This could have been due to the time restrictions of the original LP.
All told, these are two readings which warrant your attention.
Stephen Greenbank
