As a glance at the above will show, this is not the old Beaux Arts version, for whose restoration I made a plea two years ago, but a new digital account recorded with their new cellist, Peter Wiley and in a different acoustic The Maltings, Snape. In their old version they omitted the fugue (Var. 8), a practice sanctioned by the score (the Borodin on Chandos curiously enough, cut out the variation preceding it) but this time round the players restore it. However, they do make the traditional cut in the finale (bar 9 of page 86 to bar 4 of page 102 Eulenburg score).
Mozart wrote a plethera of fine chamber music in the galante style of the classical era: Quintets for various instruments, string quartets, string trios, string duos, piano trios, violin sonatas and the two magnificent piano quartets here. With these two quartets, Mozart more-or-less invented the genre which was later taken up by Schumann, Brahms and Dvorak. These piano quartets show Mozart in both a dramatic mode in the minor work and a typical merry mood in the major piece.
These works, and this recording, work for me. Listening to Korngold's Op.1, you'd never suspect he was 12 years old when he composed it. It's the work of a mature composer, albeit one who would go on to find more of his own voice. But that's the case with all great artists of course. And Zemlinksy's works are always ingenious and rewarding. The professional relationship between these two composers makes the relationship between these two trios all the more interesting. As usual, the Beaux Arts Trio plays impeccably and Philips has created a magnificent recording.