The Kalichstein/Laredo/Robinson trio kick-starts its Beethoven cycle by grabbing the so-called “Ghost” by the scruff and not letting go for a split second. The players shape the first movement’s fiery unison passages with intense unanimity while achieving spectral sonorities in the slow movement that manage to be both disembodied yet luminous. Their rollicking, light-footed Presto concludes the work on an uplifting note.
Seasoned, expertly dovetailed ensemble playing informs the threesome’s “Archduke”. Kalichstein’s warm tone and pearly legato particularly stand out in the majestic variation movement, as do Laredo and Robinson’s playfully inflected commentaries in the finale. Here, however, I prefer how the Abegg trio’s leaner, more deadpan traversal underscores Beethoven’s dry humor, and I find its quicker, less studied way with the Scherzo more satisfying.
Ample sonorities and refined interplay distinguish the KLR trio’s beautifully played Op. 70 No. 2 (a work too often underrated) and the two variation sets, which again contrast to the Abegg’s sharply contoured, more incisive work. You might say that in Beethoven KLR relates to Eugene Ormandy and the Philadelphia Orchestra as the Abeggs do to Günter Wand and the NDR Orchestra. Sonically speaking, the rich resonance seems a bit too large for the music’s physical dimensions, yet the recording boasts plenty of clarity and presence. In sum, this first of two double albums encompassing Beethoven’s complete cycle of piano trios adds up to a strong contender in a crowded catalog.
