Schubert: Introduction and Variations on 'Trockne Blumen' from Die Schöne Müllerin D802

“This is a marvellous disc, one of the most enjoyable I have heard in a long time. It is distinguished by superb sound, too. There is a great line-up of soloists who seem to have clicked miraculously, with the result that they deliver a more completely satisfactory account of the Trout Quintet than any I have ever heard before. Martin Helmchen is as gifted a new pianist as I expect to here for years, and Christian Tetzlaff is here at his best.” BBC Music Magazine, July 2009 *****

“Martin Helmchen is the sparkling pianist: fluent, lithe but never histrionic, not imposing himself: all five players really do seem to be equals….The variation movement, starting with a refined and restrained utterance of the song, swims along delectably….I have fallen for this PentaTone release hook, line and sinker.” International Record Review, July/August 2009

“The clarity of separation between the instruments in the Trout is owed in part to the recording but also the performers themselves, a well attuned group. Helmchen ensures that the opening of the variation movement quoting the song, "Die Forelle", is far gentler than usual, obeying the score, and the climax brings wonderfully bouncy playing, leading to a jaunty account of the finale. ...the most striking performance of all comes in the Notturno, tenderly affectionate in its flowing adagio. Though the pianissimos are extreme, every note can be clearly heard. A distinctive disc celebrating the emerging mastery of Martin Helmchen.” Gramophone Magazine, September 2009

“A memorable account of the Trout Quintet. This group may not project the warmth and bonhomie of the famous Curzon/Boskovsky recording, nor does it have the searching quality of the performance led by Alfred Brendel, but for verve and refinement it's hard to beat. The happy, carefree nature of the music is captured perfectly on a beautifully clear recording; it's especially notable how every detail of the double bass's very spirited contribution, is clearly heard yet with no sense that Alois Posch is 'bringing out' his part. Especially enjoyable is the Scherzo – a fast tempo, but finely poised, and with a subtle, effective relaxation of the trio – and the Variations.
In Variation 2 Renaud Capuçon's figuration is so delicate that the viola melody can create a particularly strong expressive effect, and the following variation is just as magical – Frank Braley's demisemiquavers are quite brilliant, with a lovely, silvery tone, and the bass melody has, for once, nothing elephantine about it.
The elaborate, showy set of variations on 'Trockne Blumen' from Die schöne Müllerin, dating from 1824, is an unhackneyed choice of filler. It's curious that the current catalogue lists only two recordings, and one of these, like the present version, substitutes violin for the original flute. It certainly makes a virtuoso violin and piano piece, and played with the precision and delicacy that Capuçon and Braley bring to it is highly effective, though with only occasional touches of the melancholy we expect in late Schubert. After this extravagant music, the touching simplicity of the song arrangement is the more striking.” Gramophone Classical Music Guide, 2010

“The Trockne Blumen Variations sound particularly effective on period instruments” BBC Music Magazine, August 2012 ***