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Penguin Guide, January 2009

The recordings were made respectively in the Italian Institute in Budapest and the Festetič Castle at Keszthely and are bright and well detailed.

Carl Bauman
American Record Guide, August 2001

"The Hungarian performers are in their 40s. They play with polish and feeling. The recording is rather close but very good. The notes are detailed and informative. If you own the first three Berwald trios by all means add this disc to you collection."

Robert Layton
BBC Music Magazine, May 2001

"The present performances first appeared in the early Nineties on Marco Polo and are Vital and alert, and now that the excellent Seraphim Trio is no longer available, they have the field to themselves. ...Bright and well detailed recorded sound."

David Preiser, February 2001

"This re-issue of a 1991 Marco Polo recording apparently is the only version available of these piano trios (two C major works and two fragments in C and E-flat) by Franz Berwald. It is the second of two releases of all his attempts in the genre. His 1845 C major work, which predates his officially numbered trios, has plenty of energy and melody but lacks the discipline of a more mature composer. All three performers on this recording-pianist Kálmán Dráfi, violinist Jozsef Modrian, and cellist György Kertész-inject Berwald's occasionally long-winded lines with life-sustaining enthusiasm and give full attention to clarity of line and evenness of balance...

"The two fairly substantial Trio fragments are interesting filler for completists. The E-flat major, nearly a full opening movement that was abandoned for other ideas, offers some pleasant, sunny melodies in the final section. The C major fragment is a document of Berwald's thoughts on improving the C major trio, and from the sound of it he was on to something. However, the same octave leaps that gave the string players trouble in the original are still a problem. In both fragments, the musicians stop where Berwald did in his manuscript, which is quite acceptable for the purposes of authenticity.

"Instead of more revision, the Trio No. 4 is essentially a new work, with the odd quote from the previous two attempts, and this piece shows Berwald more in command of his craft. Again the players give committed interpretations..."

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