RACHMANINOV PIANO TRIOS The Moscow Rachmaninov Piano Trio Hyperion CDA67178 Full Price

In an age when recordings of Rachmaninov's great masterpieces are as numerous as the spellings of his name, this CD explores a lesser-known corner of his repertoire consisting of early chamber works. Many composers' youthful outpourings are written off as being of 'mainly academic interest', but whilst Rachmaninov was no Mendelssohn-like prodigy, the pieces presented here have more to commend them than merely their historical context.

The Trio Élégiaque No.1 in G minor and No.2 in D minor open and close the disc respectively, and thus frame two lighter pieces each for the cellist and violinist (both with piano). The first trio is saturated with Russian melancholy and from the moment the piano takes up its plaintive opening theme, the style becomes instantly recognisable, although this should be no surprise, since the famous Prelude in c-sharp minor, which showed remarkable originality of language, was completed around the same time. The players produce a stirring performance here, with pianist Viktor Yampolsky balancing the busier textures of his part admirably.

The piano comes to the fore in the second trio, which, unlike the one-movement structure of the first, consists of three movements; the first two are huge seventeen-minute structures, the final one much shorter. These epic proportions are mirrored in the concerto style of much of the piano writing and again Yampolsky rises to the challenge, playing with fire and dynamism when required. In fact, there are moments when one thinks 'where have the other two gone?' such is the piano's dominance at times. Whether this balance of the group is a drawback is more a matter of taste. The string parts are often exploited for their cantabile qualities rather than virtuosic potential, which helps to redress the textural balance; from this angle the huge piano writing could be seen as necessary to make a success of such large structural spans.

The violin and cello are given more limelight in the central pieces of the disc. The Prelude for cello opens with a theme of such autumnal beauty and nostalgia that it is difficult to believe it is the work of such a young composer; instead, one imagines it to be the reflections of an old man. Cellist Natalia Savinova captures the pensive mood to marvellous effect. The violin's Romance is a similar work, so it is thankful that the Danse orientale for cello and Danse hongroise for violin are present to provide the required contrast. In the latter of these, Rachmaninov emulates the drawing room Slavonicism that was so popular across Europe at the time. For once the violin is given a chance to show off and Mikhail Tsinman displays impressive technique and musicality although the 'gypsy fire' of his playing seems somewhat diluted - one almost wishes for a rougher tone and the kind of frenzied playing that makes you wonder when he will break a string.

This is a disc for anyone who enjoys Rachmaninov's music. The style in these early works is fundamentally no different to the works of his more mature years and their great melodic and romantic qualities give them immediate appeal.

Gavin Meredith