It's no coincidence that while in the accompanying booklet we learn about the Esterhazy family, the four composers represented, and the Polish Baryton Trio, there's not a word about the music itself. Admittedly, there isn't much to tell about these extraordinarily nondescript pieces. The apparent impetus for court composers such as Haydn, Burgksteiner, and Tomasini to produce these works was simply to give amateur baryton player Prince Nikolaus something to perform. And the music sounds like it. Occasional light departures such as the harp-like runs in the Menuet of Burgksteiner's Divertimento Nr. 18 and the clock-like plucked ornamentation Haydn cleverly includes in the Adagio of his Barytontrio Nr. 66 break the regularity somewhat. But as much as these pieces may have challenged Prince Nikolaus, they certainly will not prove the slightest bit taxing for today's listeners--at least in a technical sense. Musically, however, these moderately pleasant works, primarily built on predictably rote rhythm patterns and stoic, evenly measured tempos, may try your patience if you listen too carefully for too long. Simply put, these pieces were intended for an amateur player and his sympathetic court audience and never were designed for the kind of close, extended listening encouraged by a full-length modern recording.

Nevertheless, special mention must be given to the remarkably fine sound quality DUX affords the performers here. There's a wonderful immediacy to each instrument as its characteristic resonance remains distinct yet cohesively balanced in sharing the acoustic setting. This is unquestionably the finest sounding baryton trio recording I've ever heard. Audiophiles and serious baryton fanciers may find much to enjoy here. Other curious listeners--even those with a very high threshold of boredom--may still want to pass.

--John Greene