There seem to be two contrasting approaches to period-instrument performance. Either one goes all out for euphony, for making everything sound as nice as possible, or one revels in the different sonority, in the generally less smooth and even sound of earlier instruments. La Gaia Scienza clearly adopt the second approach, and the result is most colourful and invigorating. The contrast with the recording by Immerseel, Beths and Bylsma (see above) could hardly be greater, especially as regards the sound, playing and recording of the fortepiano.
Federica Valli plays two Viennese instruments by Johann Schanz which both make quite a pungent effect, with percussive articulation in the bass, brightness and limited resonance in the treble, and a colourful range of different sonorities. The close, though not dry, recording enhances the startling impression, and probably unfairly, makes Jos van Immerseel’s sound, on an early nineteenth-century Leipzig-built instrument, seem tame. But Immerseel’s playing, too, is rather bland; passage after passage, characterized in a detailed and lively way by Valli (in this respect she is an early-instrument counterpart of Andras Schiff), sounds more ordinary as played by Immerseel.
The Sony disc manages to include both the great Schubert trios, but at the cost of omitting several repeats. Despite some extremely stylish string playing from Beths and Bylsma, I’d go for the smaller amount of music but far more gripping performances of La Gaia Scienza. Their account of the early Trio in B flat is a delight – the young Schubert’s enthralling jumble of prolific invention is presented with kaleidoscopic vividness.'