How well you respond to these crisp, intelligent, somewhat cool and small-scaled readings largely depends on your tolerance for violinist Vera Beths’ wiry, period-instrument timbre. Cellist Anner Bylsma, by contrast, offers more expressive, tonally alluring work within minimum inflection parameters. Jos van Immerseel’s fortepiano balances well with his partners. His soft chord playing has a spooky, disembodied sonority that enhances the slow movements, particularly those aching tremolos that characterize the “Ghost” trio’s nickname. Notes by H.C. Robbins Landon provide vivid historic context surrounding the works and their first performances.
