Prepare to be enthralled by the sensational pianist Frank Dupree as he embarks on a mesmerizing Kapustin odyssey, featuring the exuberant Piano Concerto No. 5 and two captivating works for two pianists. A virtuoso like no other, Dupree’s prodigious talent shines brightly, leaving audiences spellbound with his flawless technique and infectious passion for the music.

The album’s heart lies in the dazzling Piano Concerto No. 5, a magnum opus dedicated to the legendary Nikolai Petrov in 1993. From the very first note, Kapustin’s unmistakable fusion of classical and jazz elements envelopes you in a whirlwind of emotions. Dupree skillfully navigates the complex musical landscape, where melodies come rushing in like waves, and the rhythm dances with an intoxicating allure. The concerto’s five interconnected movements, spanning just under 21 minutes, are a breathless journey of surprises, keeping listeners on the edge of their seats throughout.

Dupree’s command over Kapustin’s unique musical language is awe-inspiring. The daunting passages that would make an average pianist tremble are a mere plaything for him. His hands seem to dance effortlessly across the keys, and his interpretative prowess breathes life into every phrase. This is no mere performance; it’s a masterful dialogue between the artist and the composer, as if Kapustin’s spirit were guiding Dupree’s fingers.

In the Concerto for two pianos and percussion, Dupree finds an equally talented partner in pianist Adrian Brendle, along with the brilliant drummer Obi Jenne and percussionist Franz Bach. Together, they weave a tapestry of intricate rhythms and harmonies, showcasing the full extent of Kapustin’s musical genius. The trio’s synergy is a joy to witness, and conductor Dominik Beykirch expertly guides the ensemble, ensuring a seamless musical journey.

The crowning jewel of the album is the delightful Sinfonietta for piano four hands, composed in 1986. Here, Dupree and Brendle exude a palpable sense of joy and camaraderie. The music sparkles with effervescence, drawing inspiration from jazz, ragtime, and the unmistakable charm of Gershwin. Each movement is a burst of energy, carrying the listener along on a euphoric ride.

In this brilliant recording, Frank Dupree showcases not only his remarkable technical prowess but also his deep understanding and affinity for Kapustin’s music. With every note, he unravels the intricate layers of the composer’s vision, delivering an electrifying performance that lingers in the mind long after the music fades. This album is a treasure trove for fans of Kapustin’s work and a gateway for those eager to explore the thrilling confluence of classical and jazz. If you’re ready for an unforgettable musical adventure, join Frank Dupree on this mesmerizing journey into Kapustin’s musical wonderland.

In their second installment of Haydn’s Piano Trios, the Trio Gaspard once again delivers a spirited and engaging performance, showcasing their commitment to both historical authenticity and contemporary musical exploration. The album, titled “Haydn: Piano Trios, Vol. 2,” presents a captivating selection of compositions, ranging from Haydn’s early divertimento to later, more mature works, along with a playful addition by contemporary composer Leonid Gorokhov. Released under the Chandos label (CHANDOS CHAN20270), this recording captures the Trio Gaspard’s vibrant interpretations and thoughtful artistic choices.

The album commences with a charming four-movement divertimento from the early 1760s, offering a glimpse into Haydn’s musical evolution before his renowned association with Prince Esterházy. While the piece exudes a certain innocence, it’s the slow movement that truly captivates, featuring an expressive keyboard solo enveloped by delicate violin and cello accompaniment. The Gaspard string players cleverly switch to pizzicato during the repeat of the opening section, adding a touch of imaginative variation.

Moving forward, Trio No. 21, composed in the mid-1780s, defies convention by omitting a slow movement. The opening Allegro initially appears traditional, but Haydn surprises the listener with bursts of chromatic syncopation, skillfully introduced and reintroduced throughout the composition. The subsequent pieces, composed approximately a decade later during Haydn’s London sojourn, showcase the composer’s mastery of emotional depth and liveliness. The slow movements are infused with poignant expressiveness, and the finales, notably the Presto assai ‘in the German Style’ of Trio No. 45, exude a contagious vitality that keeps the listener engaged.

Trio Gaspard’s performances are marked by their spontaneity and vivacity, effectively capturing the essence of Haydn’s musical spirit. However, their penchant for adding ornamental flourishes during repeats occasionally veers into the realm of fussiness, subtly tugging at the balance between authenticity and embellishment.

A distinctive feature of this album series is the inclusion of commissioned works inspired by Haydn’s legacy. In this volume, Russian cellist and composer Leonid Gorokhov contributes a playful piece titled “For Gaspard.” Written in a mock-Haydn style, Gorokhov skillfully integrates snippets of Haydn’s D major Cello Concerto, infusing the composition with a sense of humor and homage. While the initial wit is appreciated, the novelty of the joke can wear thin over repeated listens.

“Haydn: Piano Trios, Vol. 2” by Trio Gaspard offers a well-rounded exploration of Haydn’s compositional evolution, brought to life through the ensemble’s energetic performances. The Trio Gaspard’s commitment to authenticity, combined with their willingness to experiment with playful contemporary additions, makes this album an engaging addition to any classical music enthusiast’s collection. While some interpretative choices may prompt discussions on the fine line between authenticity and embellishment, there’s no denying the trio’s passion and dedication to Haydn’s musical legacy.

In this latest release featuring Boris Giltburg on piano alongside the Royal Liverpool Philharmonic Orchestra conducted by Vasily Petrenko, the spotlight is undeniably on Giltburg’s unique interpretation of Ludwig van Beethoven’s Piano Concertos. While the recording showcases exquisite playing and a deeply Romantic approach, it grapples with the challenge of recorded balance, particularly in Beethoven’s Third Piano Concerto.

The album opens with Beethoven’s Third Piano Concerto, and immediately, the crisp and lean introduction by Petrenko and the RLPO sets the stage. Giltburg’s performance shines with a sonorous, bell-like tone that’s so closely recorded it sometimes tips the balance, giving the impression of a star soloist against a backdrop of orchestral accompaniment. This approach carries the risk of overshadowing the orchestral contribution and transforming the concerto’s atmosphere into a piano-centric experience. Giltburg’s rendition of the Largo is sensitive and immediate, yet its sonic richness occasionally veers towards self-indulgence.

Giltburg’s artistic voice, characterized by its poetic qualities, is evident throughout this album. Drawing comparisons to a Keatsian approach rather than a Drydenian one, he skillfully emphasizes the Romantic elements embedded within Beethoven’s music. However, at times, this approach leads to a minor concern of self-regard, wherein the piano becomes so thunderous that the authenticity of a live concert experience is somewhat lost.

The Fourth Piano Concerto takes a step forward in terms of balance between the orchestra and soloist, possibly due to the three-year gap between the recording sessions. Giltburg’s performance aligns more harmoniously with the 19th-century sensibilities that define the piece. His deft use of rubato and his rich sonority find a suitable home in this concerto, where the music yearns for a more Romantic interpretation. The Fourth Concerto showcases Giltburg’s virtuosity through impressive trills and runs, although some listeners might find the piano’s clangorous and overbearing tone to be a slight drawback.

The recording’s engineering becomes a central issue that occasionally overshadows the artistic intentions. In an era where recording quality is often excellent, this release stands as an exception, occasionally detracting from the overall experience. However, it’s worth noting that this factor does not diminish Giltburg’s expressive manner and his unique interpretation of Beethoven’s works.

In conclusion, Boris Giltburg’s exploration of Beethoven’s Third and Fourth Piano Concertos on this album offers a distinctive perspective that leans toward Romanticism, captivating listeners with his sonorous playing and poetic approach. While the recorded balance and engineering nuances might present challenges, Giltburg’s interpretation remains a focal point, making this release a notable addition to the world of Beethoven interpretations. Whether you’re a staunch admirer of the Third Concerto or hold a preference for the Fourth, Giltburg’s expressive renditions will undoubtedly leave an indelible mark on your Beethoven journey.

Esther Yoo’s musical journey is one that transcends borders and cultures, and her latest album, “Max Bruch (1838-1920),” in collaboration with the Royal Philharmonic Orchestra and conductor Vasily Petrenko, is a testament to her deep connection to her heritage and her remarkable skill as a violinist. This Deutsche Grammophon release features a unique selection of works that span almost a century, showcasing Yoo’s passion and versatility.

Yoo’s background, born in the USA but raised in Europe, brings a rich blend of influences to her performances. Her choice to include works that reflect her cultural upbringing in the USA, Belgium, and Germany adds a personal and engaging touch to the album. Opening with Bruch’s iconic Violin Concerto No. 1, Op. 26, Yoo’s fresh and compelling interpretation captures the warmth of Bruch’s melodies and the various emotional shades of the composition. Her mastery over the instrument is evident as she effortlessly navigates the intricate passages and infuses each movement with passion and vitality.

In the concerto’s opening movement, marked Vorspiel: Allegro moderato, Yoo’s playing resonates with a captivating passion that draws listeners in from the very start. The Adagio movement is a highlight, characterized by Yoo’s sincere and deeply expressive performance, beautifully capturing the melancholic essence of the music. In the Finale: Allegro energico, Yoo’s skillful interpretation highlights the lively dance rhythms and seamlessly transitions between moments of excitement and heartfelt expression.

The inclusion of Bruch’s Adagio appassionato further showcases Yoo’s ability to convey the emotional depth of the composer’s work. This single-movement piece allows Yoo to shine as she captures both the exhilaration and nostalgia present in Bruch’s writing.

Moving to Samuel Barber’s Violin Concerto, Yoo’s performance reflects her respect for the work. The opening Allegro is infused with drama and intensity, highlighting Yoo’s technical prowess and her ability to generate a sense of anticipation. The heart of the composition, the Andante movement, is a standout, with Yoo’s lyrical and fluent playing capturing the beauty of Barber’s melodies. Despite the somewhat debated reception of the Finale, Yoo navigates its virtuosic demands with confidence and skill, delivering a satisfying conclusion.

Yoo’s choice to include Henri Vieuxtemps’ Souvenir d’Amérique, Variations Burleques (Yankee Doodle), Op. 17, adds a touch of humor and delight to the album. Her rendition of this playful piece is engaging and lighthearted, showcasing her ability to connect with the audience through her music.

Throughout the album, conductor Vasily Petrenko’s collaboration with the Royal Philharmonic Orchestra is evident in their precise and nuanced interpretation of the music. The orchestra’s dynamic range and rhythmic impetus contribute to the success of Yoo’s performances.

The recording quality of the album, captured at Henry Wood Hall and Watford Colosseum, is impeccable. Yoo’s violin, the ‘Prince Obolensky’ Stradivarius (1704), resonates beautifully, allowing listeners to fully appreciate the nuances of her playing.

“Max Bruch (1838-1920)” is a reflection of Esther Yoo’s musical journey and her deep connection to the works she performs. Her captivating performances of Bruch’s and Barber’s violin concertos, along with Vieuxtemps’ playful variation piece, make this album a valuable addition to the repertoire. Yoo’s ability to convey emotion, technical prowess, and her dedication to her craft are all evident in this highly recommended recording.

Renée Fleming’s legacy as one of the most celebrated sopranos of her time is on full display in the exceptional CD collection, “Greatest Moments at the Met.” While various compilations of her work exist, this particular selection stands out for its focus on the performances she delivered at New York’s Metropolitan Opera, a venue intimately connected with her illustrious career. Curated by Fleming herself, the album showcases her unparalleled vocal versatility with a stunning array of pieces from various composers, spanning multiple languages and dramatic atmospheres.

Right from the first track, listeners are captivated by the voice of a thousand shades that made Renée Fleming an iconic figure in the opera world. Her ability to seamlessly transition from the refined elegance of Mozart to the passionate intensity of Verdi, the lush melodies of Strauss, and the modern brilliance of Britten is nothing short of breathtaking. It is clear that she possesses a true mastery of her craft, able to fully inhabit the essence of each musical era and language.

One of the most remarkable aspects of this collection is Fleming’s linguistic facility. She fearlessly takes on pieces in Italian, German, English, French, Russian, and Czech, imbuing each with an authenticity that is both impressive and emotionally resonant. The range of expression she achieves is remarkable, and whether performing in her native tongue or foreign languages, she brings a sense of depth and understanding to each piece.

Two standout moments on the album include her flawless performances in Britten’s “Peter Grimes” and Carlisle Floyd’s “Susannah.” Fleming effortlessly navigates the distinct dramatic atmospheres of each opera, illustrating her exceptional acting abilities alongside her vocal prowess. Her portrayal of characters in these works is nuanced and captivating, making the listener feel as if they are witnessing a live theatrical performance.

The recordings predominantly hail from the golden age of Fleming’s voice, spanning between 1994 and 2008. However, the inclusion of a selection from 2015’s “Merry Widow” serves as a testament to her enduring talent and vocal longevity. Even after decades of performing, she continues to shine brightly and delight audiences with her incredible vocal artistry.

An exceptional addition to the collection is Fleming’s groundbreaking appearance in Handel’s “Rodelinda.” This historical moment reflects her significant role in paving the way for top-tier sopranos to embrace Baroque opera. Her dedication to exploring a diverse repertoire has not only enriched her own career but also contributed to the evolution of the opera genre.

Despite the inherent challenges of recording live performances at the Met, the material is masterfully engineered, resulting in a cohesive and immersive sonic experience. Each piece retains its emotional impact, allowing listeners to appreciate the full breadth of Fleming’s talent, both as a singer and an interpreter of music.

Gautier Capuçon’s latest album, “Sensations,” is a delightful and diverse collection that showcases the cellist’s remarkable talents and his ability to traverse between classical and pop genres seamlessly. Released in 2022, this album presents a beautiful blend of orchestral, small-group, and piano-accompanied pieces, delivering a fresh and captivating experience to listeners in France and beyond.

One of the strengths of “Sensations” lies in its variety. Capuçon offers a mix of both French and non-French compositions, often with a twist that adds intrigue to familiar melodies. For instance, his rendition of Frank Sinatra’s “My Way,” originally inspired by the French song “Comme d’habitude,” highlights his creative approach to interpreting music. Additionally, the inclusion of “Amazing Grace” is a rare treat in a European album, and Capuçon’s haunting performance of this iconic melody is truly captivating.

Capuçon’s collaborators play a crucial role in the success of this album. The Orchestre National de Bretagne, under the direction of the award-winning German conductor Johanna Melangré, complements Capuçon’s cello beautifully on 14 of the 20 tracks. Pianist Jérôme Duclos, a long-time friend of the cellist, not only joins him on 11 tracks but also contributes significantly to the arrangements and transcriptions, ensuring that the cello takes center stage while honoring the essence of the original compositions.

The tracklist of “Sensations” encompasses a wide range of well-known pieces from various genres. From the classic allure of Barber’s “Adagio for Strings” to the cinematic brilliance of John Williams’ “Schindler’s List Main Theme,” each selection is performed with impeccable artistry. Furthermore, Capuçon’s rendition of Puccini’s “Nessun dorma” from the opera ‘Turandot’ and the evocative “Gabriel’s Oboe” from Morricone’s ‘The Mission’ showcase his ability to evoke powerful emotions through his cello.

Capuçon also showcases his commitment to nurturing young talent. In several tracks, he is joined by Capucelli, a group of gifted former student cellists from his masterclass in Paris. Notably, their collaboration on Villa-Lobos’s “Bachianas brasileiras No.5, Aria: (Catalina)” featuring Egyptian soprano Fatma Said, the exuberant “In the Hall of the Mountain King” from Grieg’s ‘Peer Gynt,’ and the lively “Mambo” from ‘West Side Story’ adds a delightful touch to the album.

Throughout “Sensations,” Gautier Capuçon’s cello playing remains extraordinary, capturing the essence of each composition with precision and emotion. His ability to connect with the audience is evident in every note he plays. Whether he performs classical masterpieces or reimagines beloved pop songs, Capuçon’s musicianship is exceptional and captivating.

“Sensations” is a superior crossover album that caters to a broad range of listeners, blending classical and pop elements with finesse. Gautier Capuçon’s artistic brilliance, combined with the collaboration of outstanding musicians, makes this album a must-listen for any music enthusiast. As winter approaches, “Sensations” promises to be a heartwarming and delightful companion that will lift spirits and bring joy to all who experience its beauty.

This enthralling album showcases a captivating tribute to the memory of the late pianist Nicholas Angelich, a cherished collaborator and dear friend to both virtuosos. With a compelling repertoire of Beethoven, Franck, and Schumann violin sonatas, the artists deliver performances that intertwine seamless artistry with emotional depth.

Martha Argerich, the renowned pianist, remains a musical force to be reckoned with. Her unique interpretative prowess paints a vivid musical canvas, where every note blends effortlessly, creating an exquisite conversation between piano and violin. Her dynamic approach to dynamics and an organically-grown rubato cast a spell, drawing listeners into an immersive and emotionally charged experience. In the opening Schumann sonata, Argerich’s molten accompaniment gracefully embraces Capuçon’s velvety tone, forming a seamless musical symbiosis that resonates with sheer magic.

Capuçon’s violin artistry is nothing short of astonishing. With a delicate touch and a rich, sweet tone, he navigates each piece with utmost sensitivity, evoking a profound emotional response from the audience. In Schumann’s First Violin Sonata, his tender and evocative rendition breathes new life into the composition, igniting the true essence of the music and showcasing why Schumann’s initial reservations would undoubtedly be put to rest by this extraordinary performance.

The Beethoven’s Kreutzer Sonata emerges as a triumph of technical brilliance and impeccable coordination. Capuçon and Argerich ignite a fiery passion, pushing the boundaries of tempo without losing sight of the work’s intrinsic beauty. Their seamless interaction and virtuosic prowess create a mesmerizing soundscape that captivates from start to finish.

At the heart of the album lies Franck’s monumental Violin Sonata. In the hands of Capuçon and Argerich, this work becomes an intimate and deeply moving story. With masterful storytelling, they weave the sonata’s complex melodies and harmonies into a haunting narrative that leaves a profound and lasting impression. The emotional depth and artistic finesse in their performance turn the sonata into a haunting melodic odyssey, inviting the listener to embark on an unforgettable musical adventure.

The recording captures the live concert’s intimacy and authenticity, featuring the occasional foot-stomping and vocal expressions that only enhance the immersive experience.

Renaud Capuçon and Martha Argerich’s collaboration in the Beethoven; Franck; Schumann Violin Sonatas concert is a mesmerizing tribute to a departed friend and pianist. Their artistry shines throughout, with each musician bringing their unique flair to the repertoire without overshadowing one another. The result is an unmissable album, capturing a truly memorable and emotionally charged concert. For classical music enthusiasts and newcomers alike, this recording is an extraordinary journey through the heart and soul of these timeless masterpieces.

The Albion Quartet’s recording of Shostakovich’s String Quartet No. 3 and Walton’s String Quartet in A minor is nothing short of exceptional. From the first note to the last, this album presents a captivating musical journey that showcases both the group’s talent and the profound emotional depth of the compositions.

The standout feature of this recording is the way the Albion Quartet approaches Walton’s String Quartet in A minor. The turbulence and wistful lyricism of Walton’s writing are masterfully captured, drawing listeners into a world of searing tension and poignant moments. The opening is particularly captivating, with the quartet’s tone effortlessly shifting between honeyed sweetness and scintillating energy, at times even feeling electric. The use of swooping portamentos, reminiscent of the first recording of this piece by the Hollywood Quartet, adds an appropriate touch of nostalgia and reverence for the period.

Throughout the performance, the quartet’s pacing and attention to detail are impeccable. Ann Beilby’s rich and poignant timbres on the viola add a special touch to Walton’s writing, making it shine even more. The interplay between Tamsin Waley-Cohen’s and Emma Parker’s violin lines is a highlight, often leaving listeners breathless with the drama of stormy passages or the delicate subtlety of tender moments. Nathaniel Boyd’s cello line grounds and supports the music with beguiling guttural interjections, contributing to the almost orchestral textures of the composition.

The pairing of Walton’s quartet with Shostakovich’s Third Quartet is a thoughtful decision, given that both were completed in 1946, a year marked by “conflicting emotions” post-war. The Albion Quartet’s rendition of Shostakovich’s work is equally compelling. The quartet expertly navigates the contrasting moods and emotions of the piece, from a seemingly jaunty and sunny opening that quickly reveals its underlying cynicism. As the composition descends into shadows, the Albion Quartet follows suit, delivering a hauntingly atmospheric performance.

The album’s production is commendable, allowing the Albion Quartet’s vast and resplendent sonorities to shine while keeping the details intact. The architecture and pacing of the album are well-judged, guiding listeners through an excruciating yet exhilarating journey of musical and emotional states. The parallels drawn between the post-war year of 1946 and the present time add an extra layer of poignancy to the experience.

In conclusion, the Albion Quartet’s recording of “SHOSTAKOVICH. WALTON ” is an outstanding achievement. Their erudite and courageous playing, coupled with a deep understanding of the compositions, makes this album a must-listen for chamber music enthusiasts. The emotional impact of their performance is felt throughout, and their ability to capture the essence of the times through these works is praiseworthy. This recording stands as one of the best musical experiences of the year, making it a highly recommended addition to any classical music collection.

The Dudok Quartet Amsterdam’s release, “Reflections,” offers a compelling exploration of two string quartets composed in the early 1950s, a tumultuous period marked by the oppressive shadow of Stalinism. This warmly recorded album presents Grażyna Bacewicz’s Fourth Quartet and Dmitri Shostakovich’s Fifth, shedding light on the emotional turmoil and creative resilience of the era.

Bacewicz’s Fourth Quartet immediately engages the listener with its outgoing demeanor, especially in the lively and spirited finale. Yet, lurking beneath its exuberance are unsettling shades, particularly evident in the first movement. The Dudok Quartet skillfully navigates the intricate emotional landscape, vividly conveying the haunting folk-like melody accompanied by enigmatic tremolos that evoke a sense of desolation and solitude. The quartet’s rendering of Bacewicz’s work is rhythmically dynamic and finely nuanced, capturing the contrasting moods and textures of the composition.

Shostakovich’s Fifth Quartet, another product of the era, presents its own emotional challenges. The Dudok Quartet’s interpretation is a testament to their prowess, delivering a performance that alternates between tremendous power and ferocity, particularly in the outer movements, and moments of poignant introspection, as seen in the central Andante. The slow movement is rendered with eerie precision, creating an atmosphere of unsettling beauty. The quartet expertly navigates the fragile closing bars, leaving a lasting impression of vulnerability and delicacy.

In terms of tempo, the Dudok Quartet’s interpretation of the Shostakovich’s first movement differs slightly from the composer’s Allegro non troppo marking. While their approach infuses the music with urgency and momentum, some listeners might find the Artemis Quartet’s more deliberate tempo on their Warner recording to create a more cumulative symphonic impact during the development section.

However, the Dudok Quartet’s technical prowess and artistry remain undisputed throughout the album. Notably, their arrangements of a selection of Shostakovich’s 24 Preludes showcase their brilliance and ingenuity. Successfully translating the inherently pianistic nature of the preludes into the quartet medium is no small feat, and the Dudok Quartet deserves special commendation for their idiomatic and engaging renditions.

“Reflections” by the Dudok Quartet Amsterdam on the Rubicon label is a thought-provoking musical exploration, delving into the depths of emotion and resilience during a challenging period in history. The quartet’s skillful navigation of Bacewicz’s and Shostakovich’s compositions, along with their inventive arrangements, make for a deeply engaging listening experience that invites contemplation on the profound impact of music in times of adversity.

The trio of world-renowned virtuosos – Yo-Yo Ma on cello, Leonidas Kavakos on violin, and Emanuel Ax on piano – return with “Beethoven for Three, Vol. 2,” a captivating album that delves into Beethoven’s Symphony No. 6 (arr. Wosner) and Piano Trio No. 3, Op. 1/3. Building on their previous successes, this collection takes the listener on a vibrant journey through two distinct compositions, demonstrating the ensemble’s mastery and artistic insight.

The album opens with an ambitious rendition of Beethoven’s “Symphony No. 6,” affectionately known as the ‘Pastoral.’ The trio’s interpretation sheds new light on this well-known orchestral work, presenting it in an intimate and chamber music setting. While the transformation of such a grand symphony into a trio arrangement is a commendable endeavor, the execution reveals a mix of successes and challenges. The first movement is marked by a meticulous attention to pedal points and repetitions, though at times the subtleties of texture and sustained lines, particularly in the ‘Scene by the Brook,’ feel slightly elusive. The ‘Storm’ movement, while carrying the intended intensity, occasionally verges on becoming overloaded and strenuous, possibly affecting the balance between instruments.

In the ‘Shepherds’ Thanksgiving,’ the trio grapples with tempo inconsistencies, which slightly diminish the intended breadth and nobility of the music. Here, the performers’ interpretation perhaps slightly inhibits the piece’s potential impact, while the climax could have benefited from a more substantial weight, as the arranger’s decisions play a role in shaping this aspect of the performance.

The true revelation on this album comes with Beethoven’s Piano Trio No. 3, Op. 1/3. The ensemble’s thoughtful exploration of this composition showcases a harmonious blend of Ma, Kavakos, and Ax’s individual virtuosity. The trio displays an impressive command over their instruments, thoughtfully navigating the musical material while allowing Beethoven’s genius to shine through. The balance achieved between the instruments is particularly noteworthy, with each musician contributing their unique voice to create a unified and enchanting performance. Vibrato, a key expressive element, is employed thoughtfully, adding depth and dimension to the piece, showcasing the artists’ keen understanding of Beethoven’s intentions.

Emanuel Ax’s piano work in the Piano Trio No. 3 is a highlight of the album. Liberated from the challenges presented in the ‘Pastoral’ arrangement, Ax delivers trills and passagework with effortless sparkle, infusing the outer movements with vivacity and brilliance. The Andante’s variations provide a platform for delicate characterizations from all three musicians, showcasing their musical synergy. The Minuet radiates charm, contributing to a well-rounded and deeply satisfying rendition of this trio.

In “Beethoven for Three, Vol. 2,” Yo-Yo Ma, Leonidas Kavakos, and Emanuel Ax continue to demonstrate their remarkable musicianship and dedication to exploring Beethoven’s compositions from fresh perspectives. While the trio’s interpretation of the ‘Pastoral’ symphony might not consistently capture all the nuances of the orchestral original, their captivating performance of the Piano Trio No. 3 stands as a testament to their profound understanding of Beethoven’s artistry. This album is a fine addition to the ensemble’s discography, offering listeners a unique opportunity to experience Beethoven’s music in an intimate and engaging manner.