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Raymond Tuttle
Fanfare, March 2020

…Paul Badura-Skoda (who died on September 25 of last year) was one of the great Schubert pianists, and his partners on these recordings were not exactly amateurs either.

…These musicians [Badura-Skoda, Schneiderhan, Pergamenschikow] knew their way around this music, and interpretively, these are very fine performances… © 2020 Fanfare Read complete review



Robert Cummings
MusicWeb International, December 2019

…Badura-Skoda usually collaborated with violinist Jean Fournier and cellist Antonio Janigro both in the concert hall and on recordings—many recordings—and typically received favorable critical response. As far as I can determine, this is his only recording with violinist Wolfgang Schneiderhan and cellist Boris Pergamenschikow, but together they perform with a naturalness and instrumental balance that would convince many listeners they played as a team many times previously.

Badura-Skoda’s dynamics are subtly applied throughout. Both violin and cello exhibit a fine, accurate tone, and often let their instruments sing beautifully and passionately. They play the lovely second movement with a fine sense for its lyricism and warmth; the music seems at moments to foreshadow both Schumann and Brahms. The playfulness of the third movement comes through brilliantly here. Badura-Skoda employs just the right touch throughout, and the strings make the notes dance and sing delightfully. The trio of players deliver the joy and triumph of the finale in fine style straight through, and the coda is especially brilliant. © 2019 MusicWeb International Read complete review



International Piano, November 2019

Badura-Skoda’s easy fluency in the first movement, contrasted with the way the clouds gather so effectively, makes this a commanding reading… © 2019 International Piano




Pizzicato, October 2019

The compositions have not often been heard as mature and expressive, though a certain inner restraint determines the playing. This means that every change of mood, especially in Opus 100, becomes audible, but accentuations as well as the alternation of light and darkness seem quite natural.

The trio plays very lyrically even in the more agitated second trio, and with a lot of warmth and without any rush in the Andante con moto, where the despair becomes audible in full passion. © 2019 Pizzicato Read complete review





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