Recordings

"Schubert’s second piano trio is not as easy to listen to as his first.  This is partly because of its length and partly because of the sheer wealth of melodic ideas which Schubert crams into the piece.  Here, though, it has a rare cogency and freshness, and is a delight from first note to last.

The first movement springs into being with life and lilt.  The Kungsbacka’s ability to open the music up and keep it flowing stems from their focus on maintaining a firm pulse on the first beat of each bar, such that the flood of melodic fragments that are woven into this first movement never have a chance to untangle.  Simon Crawford Phillips must take much of the credit for this.  He never seeks to dominate the proceedings, but he binds the whole together with sparkling pianism.  His partners are similarly light in their touch, with Malin Broman's sweet violin tone matched beautifully by the warmth of Jesper Svedberg's cello.  The second movement is given grandeur by superb blending of parts.  The scherzo is all charm.  Even the finale, performed here in its extended original version, is so gorgeous, fresh and alive that you do not want it to end. 

The much earlier and less substantial piano trio movement included here as a makeweight is hardly less successful.

There are no rough edges in these performances.  Together the Kungsbackas exude lightness, charm and grace.  Dynamics are scrupulously observed, giving life and context to passages - in the first and last movements of the second piano trio in particular - which can sound repetitive when played by lesser musicians.  The Naxos recording is perfectly balanced, with violin in the left channel, cello is the right and piano positioned centre-right.  The effect is that of sitting in the best seats of a recital hall."

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The opening to this trio appears to take up the gauntlet thrown down by Beethoven's mature piano trios – but how very different a path Schubert takes.  It's easy to sound strenuous at the beginning of this movement ... but it's not a mistake the Kungsbacka Trio make, sounding strong yet never belligerent ... .  What is particularly impressive is their confidence and sweep: ... they relish the outgoing E flat major (surely Schubert was inspired by the fact that for Beethoven this was the ultimate heroic key).  For the second movement, the Kungsbacka choose their trudging tempo carefully, vividly reminding us that this work dates from the same year as Winterreise.  ...  The remaining movements are similarly impressive: the Mmuet/Scherzo hybrid, a tail-chasing canon, is great fun, the Trio stomping but never coarse. Unusually, the Kungsbacka choose the composer's uncut original finale ... .  It's one of those extraordinary Schubert movements that starts unassumingly and yet stretches out to the horizon, seemingly unstoppable.  In the hands of the Kungsbacka, there are no longueurs

The Kungsbacka fill out their disc with the early Sonatensatz, D28, a delightful little petit four to complete the feast, elegantly played. ... this is certainly impressive playing, and a bargain at the price.

Harriet Smith, The Gramophone

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"There are some splendid piano trios now playing and recording ... .  On evidence here, the Kungsbacka Trio has nothing to fear from the competition, even in this oft-recorded music.  Schubert's Second trio is not the easiest piece to bring off.  Despite its typically generous fund of melody and its unusually varied colors and textures, this is a very long piece of music.  When played, as here, with the original version of its finale (including repeats), it lasts more than 50 minutes, an extraordinary length even for a mature work that suffers from no significant formal weaknesses.

A successful performance, then, is all about timing and flow, aside from the general requirement of beautiful ensemble playing at all times.  Here the Kungsbacka Trio really excels, finding in all four movements ideal tempos that allow for maximum textural clarity without any sacrifice of brilliance.  You can hear this most obviously in the second movement, like that of the Ninth Symphony one of Schubert's unforgettable, bittersweet marches, and most particularly in the finale.  It's obvious that these players have got it right when the music of the second movement returns amid the development section: it makes you stop and say "Wait a moment--haven't I heard this before?" The scherzo also manages to be unusually lively and characterful, but still "Allegro moderato", and moreover a different Allegro moderato than that of the finale.

In short, this performance offers both technical excellence and interpretive intelligence in equal measure.  Pianist Simon Crawford Phillips in particular knows exactly when to accompany and when to be brilliant. His partners play with a warm, rich tone, terrific intonation, and clearly relish Schubert's use of coloristic devices (such as pizzicato) to provide timbral contrast.  There are many fine recordings of this trio ... but this one belongs with the best of them.  By the way, it also sounds terrific on an iPod and makes a fantastic after-dinner walk or aerobic workout, especially since the coupled early Trio ("Sonatensatz") in B-flat D. 28 brings the disc timing to just a smidge over a full hour.  But whether you're relaxing at home or moving about in some fashion, you'll enjoy this very much."

David Hurwitz, Classics Today  (Artistic Quality 10/10, Sound Quality 10/10)

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"Comparing Schubert's two piano trios, Schumann described the E flat as more “spirited, masculine and dramatic” than the “passive, lyrical and feminine” B flat. Even ignoring the sexist stereotyping, it is hard to see how the E flat is more spirited than its companion. It is, though, a more serious and ambitious work, with a haunting C minor andante that would be on many Schubertians’ desert island shortlist.

The Kungsbacka Trio adds to its growing reputation with a performance that combines polish, freshness and inventive characterization. The players catch what Schumann dubbed the “repressed fury” of the first movement, and avoid the trap of sentimentalising the contrasting lyrical theme. The scherzo has an ideal lilt and lightness of touch; and the Kungsbacka’s grace and verve vindicate their choice of Schubert’s dangerously long original version of the finale.

Only the slow tempo for the andante here more a dirge than a melancholy, stoical trudge-raised fleeting doubts. Occasionally, too, the cello suffers in the balance. But this hardly detracts from a sympathetic, thoroughly enjoyable performance. The early Haydnesque trio movement, sprucely played, makes a delightful digestif".

Richard Wigmore, Daily Telegraph

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"Though we may be in the midst of a hot summer, this disc is like a breath of fresh spring air. The music is Schubert at his best: one lovely melody running into another like a string of pearls. One can sense the joy that these wonderful musicians experience as they play this masterpiece of the chamber repertoire. Good taste and virtuosity abound, and the sparklingly live recording is a joy to hear."

Giv Cornfield