In terms of immediate appeal and frequency of performance, little of Schumann's chamber music matches his Piano Quintet. This new recording from Hyperion, however, demonstrates that his other works in the same genre deserve more than to stand in its shadow. All three works on the disc, the Piano Trio (op. 110), the Fantasiestücke (op. 88) and the Piano Quartet (op. 47) confirm that, as a composer, Schumann is amongst the most important of the mid 19th century. The disc opens with his G minor trio, and, from the first few bars, the listener is plunged into the turbulent ebb and flow that is characteristic of much of Schumann's output. This ebb and flow allows performers to display touches of great sensitivity and musicality, which, if taken too far, can upset the overall shape and flow of a movement, something for which the Florestan Trio shows great respect: the playing is emotional though never over-indulgent.

...the playing is emotional though never over-indulgent.

Also noticeable is Schumann's mastery of contrapuntal dialogue, to which the medium of chamber music lends itself naturally. In the slow movements of each of the three pieces an intimate musical dialogue is stunningly effected amongst the ensemble, and contrapuntal aspects within the faster movements are executed so well that there is a glass-like clarity to the textures in which no thematic strand is obscured. This is particularly true in the finale of the Piano Quartet.

The Fantasiestücke is musically more lightweight than the other two pieces, but nonetheless provides a relief in between periods of more demanding listening. Again the Florestan Trio show great characterisation in their playing, something most called upon by the Humoreske, which, contrasting the playful sections with altogether more serious passages, requires a corresponding change in approach to performance.

The Piano Quartet may not contain all the catchy melodies that permeate the Piano Quintet, but that is not to say that it makes less rewarding listening; the opening movement takes the listener from the intensity of the slow introduction on a roller coaster ride of grand climaxes, episodes of bubbling counterpoint and moments of reflection. This is followed by a Scherzo where the playing is full of freshness and vitality. In the slow movement the striking quality is the marvellous blend the ensemble achieves. Pianist Susan Tomes shows a discerning understanding of when to accompany and when to intrude, and Thomas Riebl (viola) integrates smoothly with the trio to perform the quartet.

Overall, this recording would be of interest to any chamber music lover looking to stray slightly off the beaten track. The playing is of the highest quality, the music full of full-bodied Romantic sentiment. The combination of these two facets is a wonder to the ears.

Gavin Meredith