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Tim Homfray
The Strad, November 2013

The Arbor Trio brings a strong sense of line and lyricism to Martinů’s Cinq pièces brèves…

The fourth-movement Allegro moderato is great grotesque fun, and the finale ebbs and flows neatly as it swirls hectically along, its technical demands handled with aplomb…The five Bergerettes…receive fluid and sensitive playing that is often delicate as well. There is a degree of simple majesty to the central Andantino, and the whimsical Allegro that follows is deliciously light and airy.

Some of the subtlest playing on the disc comes in the Third Piano Trio…The string duos of the second movement are wonderfully done. © 2013 The Strad Read complete review



Jerry Dubins
Fanfare, May 2013

I find no fault with the Arbor’s performances. The players seem to find the right tone, the right balances, and the right interpretive approach to each of the works, and this is an ensemble I’m definitely looking forward to hearing more from in the near future. For anyone who loves beautiful chamber music and appreciates it being beautifully played, this is a CD you should not be without. © 2013 Fanfare Read complete review



John David Moore
American Record Guide, May 2013

Sometimes Martinů’s large catalog of chamber music strikes me as all sounding the same, but attentive listening and committed, energetic performances like these reveal subtle variety and contrasts in the composer’s musical language. These trios, dating from 1930, 1939, and 1951, though maybe not showing dramatic developments in Martinů’s style, in the hands of the Arbor Trio reveal a great deal of contrast, from restrained lyricism, to rhythmic playfulness and motive drive. © 2013 American Record Guide Read complete review on American Record Guide



David Denton
David's Review Corner, December 2012

Many would cite Bohuslav Martinu as an example of a composer who wrote too much for his own good, though it would [be] difficult not to enjoy his piano trios. He was prolific in the field of chamber music, restraining himself somewhat in this particular genre by writing just three numbered trios, originally giving the first score the name Cinq Pieces Breves. It is typical of his Paris period, with the cheeky harmonies in the fast movements to contrast with those of a very sombre disposition. As the title suggests the five movements flash past in a trice, save for the slightly extended slow Adagio. We move forward twenty-one years to 1951, by which time he was living in the United States, the ‘skittish’ French style long since abandoned, and replaced by music following in the mode of the ‘classical’ era. Though trained as a violinist, he falls into line with long established tradition of giving the keyboard the major role, the two very lively outer movements requiring considerable agility. Composed later that same year, the Third is very much in the same style, even to the extent of using the same description for each movement. Slightly the longer of the two, it has a typically energised finale that contains some of his most immediately attractive music. Bergerettes (Pastorals) dates from 1939 just before he fled from Europe. It’s five movements have the French feel and are with a hint of sadness. Based in the United States the Arbor Piano Trio has been formed by three musicians with long established careers, their technical quality, particularly in the immaculate string intonation, being all that one could desire. The Czech recording is admirable. © 2012 David’s Review Corner




Anthony Burton
BBC Music Magazine

Engaging and characteristic music… © BBC Music Magazine






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12:25:37 PM, 12 July 2014
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