Mendelssohn: Piano Trio No. 2 in C minor, Op. 66

“…The three superb musicians on this new recording, all in their twenties, face the hefty competition easily by playing with an irresistible spontaneity. They approach these works as interior high dramas; contested between melancholy and ecstasy…they play with an unassailable precision.” Alan Kozinn, The New York Times

“It's good to hear these great works played with full ardour by such a talented group of young musicians.” BBC Music Magazine, October 2006 ****

“Chamber music with star players doesn't always work: lack of rehearsal time or oversized egos can often lead to performances high on surface glitz but low on understanding. Not here though: these young artists, already making waves in their individual careers, give us a recording of Mendelssohn's delectable piano trios that sparkles and fizzes from the outset.
The opening of the D minor Trio No 1 is a touch simpler than the Florestan's recent acclaimed reading but its urgency sweeps you along. They are particularly fine in the scherzi of both trios, with delightful portamenti in the D minor which seem to say 'look how easy this is'. In the finale, the new trio set off at a dancing pace; the Florestan are a touch steadier, which makes for an even more explosive contrast as the movement hots up.
The C minor Trio has long lived in the shadow of the D minor. It's darker, slower to reveal its secrets. The new version fully captures its ruggedness, the way that melodies are hewn from the musical material, rather than simply emerging complete as in No 1. The only real quibble is their spacious tempo for the second movement, a Venetian gondola song in all but name. It's played with great tenderness but does seem rather over-extended.
All in all, this new recording is irresistible, with the three players caught in a wholly natural ambience. It's always a good sign when you don't want to stop playing a disc long enough to write about it.” Gramophone Classical Music Guide, 2010

“…these young artists, already making waves in their individual careers, give us a recording of Mendelssohn's delectable piano trios that sparkles and fizzes from the outset. They are particularly fine in the scherzi of both trios, with delightful portamenti in the D minor which seem to say "look how easy this is".” Gramophone Magazine, October 2006

“With its unforgettable opening cello theme, the D minor First has always been the more favoured of the two. But in a performance as subtle and impassioned as the Florestan's, the C minor Second seems at least as fine. The powerful, almost Brahmsian first movement alone should give the lie to the cliché that Mendelssohn's genius declined irredeemably after the brilliance of youth. While always keeping the potentially dense textures lucid (Susan Tomes's refined, singing tone and articulation a constant pleasure), the Florestan play this with a mingled fire and lyrical tenderness that it's hard to imagine bettered.
The flowing barcarolle slow movement has a crucial quality of innocence, and the flickering nocturnal Scherzo is as delicate and pointed as you could wish, at a tempo close to Mendelssohn's optimistically fast marking, while the Chamber Mendelssohn 736 finale drives impulsively towards its triumphant chorale apotheosis, grandly inevitable rather than bombastic.
From the yearning opening, the great cello melody surging across the barlines, the Florestan are equally vivid in the D minor Trio. Scrupulously observant, as ever, of Mendelssohn's detailed dynamic markings, they make you more than usually aware of how much of the music is held down to piano and pianissimo; and the moment at the start of the recapitulation, where Richard Lester's warm cello is counterpoised with violinist Anthony Marwood's fragile, floated descant, is as magical as you will hear.
Again the Florestan favour an easily flowing tempo for the song-without-words slow movement, phrasing in long spans (uncommonly pure, luminous duetting from Marwood and Lester) and finding a touch of playfulness when the main theme returns. Just as fine are the irresistible airborne Scherzo and the finale, where the Florestan, taking note of the qualifying unpoco tranquillo, make the opening march unusually pensive before sweeping forward with an authentically Mendelssohnian mix of restless agitation, grace and lyrical fervour. Pleasure in these superb performances is enhanced by a beautifully natural recording and Robert Philip's detailed, illuminating notes.” Gramophone Classical Music Guide, 2010

“What immediately impresses about these performances by the Florestan Trio is the lightness and clarity of the playing, with Susan Tomes characteristically sparing in her use of pedal. …this well-recorded new disc offers exceptionally fine accounts of these two great works.” BBC Music Magazine, October 2005

“With its unforgettable opening cello theme, the D minor First has always been the more favoured of the two. But in a performance as subtle and impassioned as the Florestan's, the C minor Second seems at least as fine. The powerful, almost Brahmsian first movement alone should give the lie to the cliché that Mendelssohn's genius declined irredeemably after the brilliance of youth. ...the Florestan play this with a mingled fire and lyrical tenderness that I have never heard bettered. From the yearning opening, the great cello melody surging across the barlines, the Florestan are equally vivid in the D minor Trio. Pleasure in these superb performances is enhanced by a beautifully natural recording and Robert Philip's detailed, illuminating notes.” Gramophone Magazine, February 2006

“Dazzling playing from this splendid ensemble puts the Florestan Trio at the very top of the list for these attractive and much-recorded works. The freshness of response and the virtuosity of the pianist, the inimitable Susan Tomes, make this coupling pretty irresistable.” Penguin Guide, 2011 edition

"Sweeping energy and well-shaped long melodic lines make both these performances gripping and rewarding. This is an impassioned, German-Romantic Mendelssohn, far closer to Schumann or Stainer. Each work is approached very much as a whole, so that even the quasi-orchestral chorale-writing in the finale of the C minor Trio comes across convincingly, both as a sound in itself and as the apotheosis of a compelling symphonic argument." - Stephen Johnson, BBC Music Magazine, March 2002

“Energy bubbles from the outer movements of the first of Mendelssohn's two trios: it is amassed gradually and cumulatively through biting articulation, springing piano playing and a meticulous balance of voices. Stefan Mendl brings clarity and ever-changing light to the long central song without words, and Wolfgang Redik's violin makes this a midsummer night's dream of a Scherzo. Three stars.” The Times