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The New Zealand Herald, December 2011

…Uwe Grodd, Martin Rummel and Christopher Hinterhuber…bring a sense of appropriate social occasion to this unfailingly sunny and no-nonsense music. Significantly, all trios are bright major-key affairs and very much centred around Hinterhuber’s rippling piano. From the start, one is caught by the ease and rightness with which these men pass the music around in the opening  movement of the G major work. In its Andante, Haydn surprises with the occasional gruff chord, but one most remembers the smooth shadings in melodious thirds and sixths.

Grodd has a way with semiquavers, whipping them through the texture with an elegant nonchalance; all three musicians enjoy the insinuating chromaticism that occasionally snakes through the otherwise unruffled major ambience. © 2011 The New Zealand Herald <a href="" _cke_saved_href="" "target="_blank">Read complete review</a></p> <p></p>

David Denton
David's Review Corner, November 2011

Doubt often surrounds the authenticity of works that do not fall into Haydn’s usual pattern, but in this instance their existence is well documented. The three Flute Trios, written in the later part of his life, are unique as his only venture into the genre, the flute replacing the conventional violin. That change was probably for no other reason than his requirement for works to take on a visit to London where the flute was popular among the English gentry. Generally sitting in the middle of the instrument’s range, the flute and cello writing is not technically challenging, and could well have been intended for talented amateurs. Just to confuse matters as to the intended instruments, they were offered and published by two different music publishers in London and Vienna. The first two, in D major and G major, are in the conventional three contrasting movements and have an attractive melodic content. The third is short, in two movements, and sound as if Haydn had lost interest in the project. Still today’s quest to hear everything the great composers wrote brings out these unassumingly pleasant scores. They are played by flautist, Uwe Grodd, cellist, Martin Rummel and the nimble piano contribution of Christopher Hinterhuber. The nicely apportioned sound comes from the Vienna’s Mozarthaus, the Bosendorfer piano possessing that fullsome lower register that reminds one of a fortepiano.

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