The Trio Fontenay are a young German ensemble with an average age of 30, who studied in Hamburg and took their name from a street near to their practice studio. And since they admit to being influenced by the Beaux Arts Trio, it's fitting that their new issue of the Mozart piano trios should be compared with the performances of that great ensemble for Philips—which come with an extra work but are on three full-price discs lasting 147 minutes, where both the Trio Fontenay and the Arion Trio are on two. But comparisons cannot be exact, for the six works on the Fontenay's Teldec issue (five mature trios and the B flat major Divertimento) are complemented on the Philips set by the three separate movements that the Abbe Stadler assembled as the D minor Trio. The Arion Trio's BIS set has the same works as the Fontenay plus (and it is a real plus) the fine Kegelstatt Trio for clarinet, viola and piano.
This may all sound complicated before I even begin to discuss the performances, but it's as well to know what's on offer. The central material, in any case, is common to all sets and the musical weight lies in the five mature trios. I like the Fontenay's approach, finding ample energy in outer movements and a good give-and-take between the three players. Sometimes one may feel that all is a bit too bright and breezy, as in the first movement of the Divertimento, but the artists could argue that this is not the place for self-conscious refinement and their youthful freshness has its own charm (in any case, they rightly show us that the first movement of K502 is a more subtle affair). It is matched, too, by a squeaky-clean recording.
The Fontenay are pleasantly spacious in slow movements—more so, indeed, than the Arion, who polish off the Adagio of the Divertimento too briskly, taking over two minutes less then the German players or the Beaux Arts. But here, and in some similar places elsewhere, I wish that the Teldec sound were less close and clear, and although manipulation of the tone controls improves matters I prefer the more refined recording accorded by Philips to the Beaux Arts. I agree with JOC in her review of their issue that the piano seems over-favoured, but since this is broadly true of the Fontenay as well, I am inclined to think that the writing itself brings it into some prominence.
It so happens that the piano leads off in the slow movement of K496, a movement in which Wolf Harden and his colleagues are to be heard at their sensitive best, but again I'd be happier to be a little further away from them. I'm not so impressed with the variation-form finale, however, which is heavy-footed in a way which has nothing to do with the recording. Still these performances as a whole are always serviceable and often more than that, so that it would be churlish to deny them a recommendation. The E major Trio (a key that is rare in Mozart) is an especially fine work, and the Fontenay bring to it the right luminescence, not least in the Andante grazioso, although sometimes I thought the cello line too emphatic. They are also sure and enjoyable in the C major Trio and the final G major, but to be candid, these works do not fulfil the expectations that their late date may raise.
The Arion Trio bring more urgency to this music, as we hear instantly in the Divertimento. Though on its own terms the playing is skilful and exhilarating, I wonder if they are not a bit too effortful. However, if theirs is by no means a relaxed view of the music, if you like your Mozart tense and electric there are certainly rewards here. If in doubt try a slow movement, such as the Andante cantabile of the C major Trio: there's no lack of sensitivity, but I personally favour more space and lyrical breadth. The Arion are at their best in the finale of this work, which suits their approach, and in the more relaxed playing of the works on the second CD—indeed, I liked this disc (with two other artists in the Kegelstatt) much better than the first. These are gifted players and their well recorded performances have much to commend them. But for all the Arion's skill, the E major Trio does not shine out as radiantly as it should and its Andante is too firmly handled.
In sum, I like the Beaux Arts best of all in this repertory, for finding more light and shade in the music without exaggerating this or that point to the detriment of the whole. It's a pity that they take three discs instead of two, and that none of these sets comes at less than full price; in consequence, it is hard to make an unqualified recommendation in this repertory at present.'