Beethoven: Piano Trio No. 10 in E flat major, Op. 44 'Variations on an Original Theme'

“This first instalment in the Gould Piano Trio's complete Beethoven cycle has much to recommend it...[the Variations in E flat major op. 44 are] players with a delicate touch that makes each of the variations a pleasure to listen to individually.” BBC Music Magazine, August 2012 ****

“This first volume in the Goulds' series proves utterly successful, deftly contrasting a lively account of the early trio with a vigorous, very much flesh-and-blood version of the Ghost. A most promising start.” Classical Music, 19th May 2012 ****

“Presumably because it comes from a concert, the Gould have chosen a varied programme rather than a chronological approach, which makes for compelling listening. They strike a fine balance, offering playing that is characterful but not unduly interventionist...The Gould judge the extraordinary build-up in the slow movement of the Ghost very finely...taken as a whole, this is a fine and musicianly start to the Gould's Beethoven cycle.” Gramophone Magazine, August 2012

“[The Xyrion Trio] are terrific musicians….They play with flawless ensemble, subtle phrasing, and great rhythmic energy-- essential for Beethoven. What struck me most of all was their wonderful sense of architecture” American Record Guide

“…the performances of the Op. 70 works are thoroughly musical and full of imaginative touches. In the finales, in particular, the players bring out all the music's wit and energy. …this new disc is certainly a bargain, and well worth exploring.” BBC Music Magazine, October 2005

“This completes the Florestan Trio's Beethoven series. Their thoughtfulness throughout has been impressive; their overall style avoids heaviness, keeping the textures light and airy, and giving every phrase individual life and character.
Occasionally the liveliness can seem relentless, but their bubbling vitality is a natural response to Beethoven's inventiveness. And their care for detail makes the early and not fully characteristic Variations in E flat (Op 44) into an absorbing, thoroughly entertaining piece.
It's interesting to compare Op 1 No 3 with the version by the Kempf Trio (BIS), which is finely played but less searching as an interpretation.
The contrast is especially noticeable in the Andante, treated by Kempf and friends as a poetic, hymn-like slow movement, while the Florestans give us a true 18th-century Andante; much faster, and, in places, light and playful.
Op 11 is often more enjoyable in the version with clarinet instead of violin. But this is another Florestan triumph. By modifying the usual robust, jolly character of the outer movements, and introducing more delicate tones, Anthony Marwood can interpret his part in violinistic terms, establishing a close rapport with the cello, yet, at the start of the finale, proving he can be as bright and perky as any clarinettist.” Gramophone Classical Music Guide, 2010