Even though American composer Arthur Foote (1853-1937) lived well into the 20th century, his music is definitely a product of 19th century Romanticism, particularly German Romanticism. This isn’t to say his music is derivative, but it does hark back to modes established by Mozart, Schumann and Brahms, all of which seem to militate against the nationalistic use of any sort of American folk melodies. (Was he consciously trying to avoid sounding like Stephen Foster, the reigning folk-melodist of the time?) Whatever Foote might have been attempting in these chamber works, they certainly still delight. Oddly, parts of the perky Piano Trio 1 (especially the second movement) tap into Dvorak’s and Brahms’ ethnic tunefulness. But again, Foote isn’t a Dvorak or Brahms wannabe. Both of the Piano Trios captured here are charming in the way they cleverly intermingle aspects of each instrument’s unique character. The Melody for Violin and Piano, a clear sonata, was written in 1899 and sounds as if Schumann could have penned it, with the violin taking the role of the human voice (soprano or tenor, take your pick). The final work here is the Ballade for Violin and Piano of 1910, more of a duo than a sonata. Overall, this is an enjoyable collection of surprisingly delightful music, more European than American in disposition. The performers play about as well as we have any right to expect, and they’re captured in an excellently balanced, vivid recording.
