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Lucy Jeffery
MusicWeb International, April 2014

Formed in 1997, the astonishingly talented Kungsbacka Piano Trio adds a sense of vitality to Haydn’s subtly lyrical pieces. Seeming to possess an otherworldly sense of telepathy, they flavour each performance with wit. Each phrase is instinct with carefully modulated intention and each note with unrestrained passion. In these capable hands Haydn’s Piano Trios sound carefully chiselled rather than decoratively polished. Each musician reaches into the innermost core for its exuberance and its self-doubt. This penetrative and even downcast tone can be heard through the singing violin in the Piano Trio in D minor.

Consummate musicians who play with utter grace, interrelatedness and individual virtuosity, these are instrumentalists of the highest order. One feels not only in safe hands, but serenaded by brilliant hands. Here they deliver intuitive and insightful performances of Haydn’s Piano Trios and are complemented by a fresh and balanced recording. Bravo! © 2014 MusicWeb International Read complete review

Jerry Dubins
Fanfare, March 2013

This is Volume 3 of the Kungsbacka’s Haydn piano trio cycle, a survey I’ve been following with great pleasure.

Musically, these may not be among Haydn’s most memorable piano trios, but the Kungsbacka’s playing continues to demonstrate the highest level of technical achievement and interpretive sensitivity to the style of the period. For Haydn’s trios on modern instruments, you will do no better than the Kungsbacka Piano Trio, and when you consider Naxos’s budget price, the ensemble’s ongoing Haydn cycle is a no-brainer. Plus, it promises, when complete, to be more complete than the still very worthy “complete” Beaux Arts’ 43-trio survey.

Very strongly recommended. © 2013 Fanfare Read complete review

David Denton
David's Review Corner, October 2012

The third volume in the complete cycle of Haydn’s Piano Trios contains three composed in a particularly happy period of his life living in London. They share with all the others from this period a high degree of happiness and contentment that may have been generated from the friendship he enjoyed with a well-educated widow, and probably contrasted much with his own marriage.  All three share the format of fast movements surrounding a central adagio or andante, and they come at a time when he was moving towards a more balanced contribution from all three instruments. There is also evidence that he was now thinking in terms of the recently introduced fortepiano, the keyboard role having a more singing quality than he could obtain from the harpsichord. Indeed listen to the molto andante of the Twenty-first and it would sound all wrong on the earlier instrument, while it is given a solo role in the poco adagio of the Twenty-second. Each of the finales find Haydn at his most jovial, the piano dancing around the strings in vivacious enjoyment. The Fourteenth was apparently composed six years earlier in 1789 and was to form part of a set of three trios. More extended than the London trios, it is full of amiable melody, yet it never finds one that will latch easily in the memory. Having moved backwards in time we find the cellos previous role filling in the harmony, the piano acting as soloist for much of the score, with elaborate decorations in the central adagio. Though the booklet does not make it clear, the pungency of Malin Broman’s violin tone would indicate the use of period gut strings. If the balance of this 2008 recording favours Simon Crawford’s excellent piano playing, Haydn has to share responsibility. © 2012 David’s Review Corner

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