Beethoven Piano Trios

[Todd]

For the Ghost, the Schynder again got the first airing.  The music bursts into being, and the entire opening movement is played with wider dynamics, and a sense of precision and control and speed and smoothness that is well nigh irresistible.  Too, the slower passages have more nuance than some earlier works, and this carries right into the Largo.  Whilst still smoothly delivered, there's an occasional darkness that informs the playing.  The piece concludes with a most energetic, ebullient, and at times playful Presto.  Superb.  The Owon likewise start off the work with no little oomph, and they likewise play with ample drive.  They do not quite match the Schyder in terms of speed and uncanny ensemble, instead offering more flexibility and a more lyrical sound at times, anchored by Sung-Won Yang's cello in that regard.  The Owon play the Largo a bit more quickly than the Schnyder, and when this combines with the even better dynamic range, the result is more dramatic, almost romantic music with touches of sorrow here and there.  The Presto is more flexible than the Schnyder, though not necessarily more fun.  Too close to call.

[Todd]

I started with the Schynder again for 70/2.  They play the first movement in a more relaxed fashion overall, and if it doesn't quite sound lilting, it swings a bit more gently than some prior performances in the set.  The Allegretto sounds peppy while the Allegretto ma non troppo is comfortable and lovely.  The ensemble play with a bit more fire, but also playfulness, in the finale. Overall, this is a most attractive performance, and when combined with the opus number relative, show the Schynder at home in middle period Beethoven.  The Owon, though, sound even more at home.  Sung Won Yang starts the Poco sostenuto with a gorgeous, singing sound, and is supported ably by his cohorts when they enter.  The noticeably broader tempo really helps out.  The entire movement sounds freer and more melodious.  The Allegretto, though only slightly quicker, has a lot more bounce to it.  The Owon trim the repeat from the Allegretto ma non troppo, and it sounds almost like three singers in the clarity of the parts.  The Finale is slightly more relaxed than the Schynder.  Here's a case where the Schynder really deliver, but the Owon deliver even more.  Superb.

[Todd]

For the Archduke, I started out with the Owon.  The Owon go for a slower overall timing in the Allegro moderato, which translates into a lovely, relaxed, flexible sound.  While all three artists deliver the goods, Emmanuel Strosser's pianisim at times steals the show without the pianist seeming to try.  Lovely, fun, delicate, playful, and elegant, the playing charms.  The somewhat relaxed and quite fun Scherzo segues to a beautiful, lightly romantic Andante cantabile, which announces how nifty it is with the unison entrance of the strings.  It's just so good, an impression hardly harmed by the playing in the middle section that evokes the late string quartet sound world.  The Owon wrap it up with a peppy and light Allegro moderato.  Outstanding.  The Schynder play faster overall, though they never sound rushed, and they play with greater dynamic range, but it's not quite as flowing.  The Schyder have the slight edge in verve in the Scherzo, and while the Andante cantabile sounds lovely, it's not as elevated.  The Schynder then close out with a slightly slower, less exuberant Allegro moderato.  It's not at all un-fun, it's just not as much fun.  Still, the overall work sounds just nifty.

Overall, the Owon take it, which was not entirely unexpected.  Now there is only one. 

(Bring on the FFG/Papavrami/Phillips set.)