wiser, though in the case of the Beaux Arts Trio and Beethoven the passage of some 20- odd years signalled a rare and fruitful broadening of musical vision. In the period between their two recordings of the Beethoven Piano Trios there had been just one personnel change – Daniel Guilet was replaced by ex- Juilliard Quartet second violin Isidore Cohen.
The principal route of the Beaux Arts' interpretative development was forged by the pianist, Menahem Pressler, whose increased tonal subtlety and willingness to widen expressive dynamics lent the trio a whole new palette of colours. Just listen to the opening of Op 1 No 2's ineffably deep Largo con espressione.
Heard superficially, there's not that much in it between the Pressler of the 1960s and of 1980, but labour the comparison and you'll soon hear the benefits of a more variegated touch and a freer approach to phrasing. There are many other plus-points. The Archduke, for example, is at once softer-grained and more wistful than its energetic predecessor and you couldn't hope for a happier rendition of the Septet transcription (the E flat Trio, Op 38).
Philips' sound quality is just as good as the original: clear, full-bodied and well balanced.
Given the price, the superior sound quality, the comprehensive coverage of repertoire and the profundity of the Beaux Art's later interpretative standpoint, this new reissue justifies a front-ranking recommendation. So much is said with so much feeling – and so little fuss – that you're drawn back again and again.