This is a crisp, neat performance of Schumann's Marchenerzahlungen, but though it is pleasant, accomplished and intelligent in ample measure I must confess to finding it a bit short on romance and spontaneity, and rather cool for comfort. Still, playing as expert as this is always agreeable, and in the third piece, marked mit zartem Ausdruck, Janet Hilton and Nobuko Imai do relax into sweeter delivery and the ensemble offers a more flexible rhythm than elsewhere. Mozart's Kegelstatt Trio is also skilfully done, but here too the interpretation is a little strait-laced. I see that in his review of an earlier performance for Chandos by James Campbell and members of the Borodin Trio, JW referred to ''the romantic nature of the work'', and I'm inclined to agree with him, for the writing, as always in Mozart's clarinet works, is warm and caressing in character; here, however, the artists project the work with a quiet intelligence and sensitivity that may seem restricting, and The Maltings, Snape recording, though admirably clear, is on the dry side. Incidentally, I hear a little of what sounds like clarinet keywork at the 5'17'' point of the first movement. But I should be wrong to over-emphasize these minor reservations, for this is fine Mozart playing in its own terms and other listeners may prefer the view of the Trio taken by these artists, particularly if they dislike an over-projected performance.
Just as the clarinet seems to lead the proceedings in the Schumann, the Eight Pieces by Bruch rather favour the viola, and the performance here has an autumnal richness that owes much to Imai's deeply felt approach and superb technical command. For my taste, these are the most attractive things on the programme, but it could be that this is partly because I was unfamiliar with their unpretentious beauties compared to those of the Schumann and Mozart. In any case, a word of praise for the sure fingers of Roger Vignoles in the rapid, agitated No. 4 and the bouncy No. 7. Please note that the alternative EMI version of these three works by Meyer, Zimmermann and Holl, listed above, includes only Nos. 1, 2, 5 and 6 of Bruch's pieces; these are fine performances from a gifted clarinettist, but although the Schumann and Mozart are more warmly alive and stylish than in the new Chandos performance and the recording is excellent (if a trace close, say, in No. 2 of the Schumann), some collectors will want the Bruch complete. However, if it's the Schumann and Mozart that determine your choice, go for the EMI disc. On the Chandos disc with James Campbell and members of the Borodin Trio, the Mozart Trio is self-conscious and deliberate.'