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John Dutterer
American Record Guide, January 2018

This is an album that I approached with high expectations: The Tempest Trio have been compared to the “Million Dollar Trio” of Arthur Rubinstein, Jascha Heifetz, and Gregor Piatigorsky… But does it measure up? It most certainly does! © 2018 American Record Guide Read complete review on American Record Guide

Jerry Dubins
Fanfare, December 2017

…both trios on this disc please immensely on account of the vibrant and emotionally communicative playing of the Tempest Trio. If you acquired the previous release containing the Third and Fourth Trios, I can’t imagine that you wouldn’t want to be without this one by not completing the set. To be sure, there are other very fine versions of these works to be had; the excellent performances by the Florestan Trio on Hyperion come to mind, but I think the Tempest Trio’s players are more tuned in to the “Slavonic” aspect of these scores. Urgently recommended. © 2017 Fanfare

Phil Muse
Audio Video Club of Atlanta, December 2017

The Tempest Trio, comprising three top-flight Israeli artists—Ilya Kaler, violin; Amit Peled, cello; and Alon Goldstein, piano—are in fine form in Vol. 2 of their complete piano trios of Antonin Dvořák. These lovely, vivacious, and sometimes moving trios, products of the composer’s early maturity, have usually taken second chair to the later Trios, Opus 65 and 90 (the “Dumky”). © 2017 Audio Video Club of Atlanta Read complete review

Dave Billinge
MusicWeb International, November 2017

This disc is a winner on all fronts: the music, the performances and the recording. …This pair are lovely pieces, full of the sort of lyricism, liveliness and, in the G minor especially, occasional melancholy that we associate with the composer.

Of course all this has to be supported by first class performers and the Tempest Trio, new names to me, are absolutely that, first class. The three musicians are very experienced and though they have played world-wide, much of their work appears from their website to have been in the United States. I can only say that they are one of the very best trios I have heard. Their technical skill and musicianship shine through and it is obvious why the previous volume in the set of all Dvořák’s piano trios was received with such high praise. © 2017 MusicWeb International Read complete review

Lark Reviews, September 2017

Dvořák’s Piano Trio No 1 Op 21 was written in 1875 and revised in 1877, its lyrical qualities obvious from the start. By contrast the second quartet in G minor, composed in 1876 is more introvert and may reflect Dvorak’s personal tragic circumstances at the time. The Tempest Trio came together having previously had individual careers as soloists, and this recording follows the success of their first cd of Dvorak trios. © 2017 Lark Reviews

David Denton
David's Review Corner, September 2017

The American-based Tempest Trio—already likened to the legendary, ‘Million Dollar Trio’ of Rubinstein, Piatigorsky and Heifetz—complete their Dvořák trio recordings. Comprising of the pianist, Alon Goldstein, violinist, Ilya Kaler, and cellist, Amit Peled—each well known as a major international soloist—they came together as a trio ten years ago, and have since appeared in many parts of the world, this up-coming year taking them on a tour of major cities around the globe. They began their recording of the Dvořák Piano Trios with a release in 2014 that somehow escaped my review volume, this coupling of the first two quartets now prompting me to look up that earlier disc. It did at the time receive rave reviews in the United States, and here their playing is of the very highest quality, if somewhat lacking the individuality of their famous named predecessors. The problem with any recording of the complete Dvorak trios is their very differing content, the first two dating from 1875 and 1876, which represents his first period in composition, the third and fourth coming in the following decade. There reading of the works is impeccable in observing dynamic and tempo directions, while technically they are immaculate and perfectly balanced. Their account of the scherzos in both works having considerable charm, the opening movements never lacking in that feeling of smouldering drama. I know that critics so often resort to saying that the Czech character of his works requires Czech musicians to get to the heart of the music, which is far from the truth, but I concur with that sentiment in these two works. The recorded sound from Naxos’s Canadian team is first class. © 2017 David’s Review Corner

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