Franck: Piano Trio Op. 20 and Op. 32 (Schickedanz, Blees, Fograscher)

Son of the distinguished but apparently modest and self-effacing composer, Eduard Franck, Richard Franck was born in 1858. If you are familiar with any of Audite's fine recordings of the father's compositions you'll find a remarkably similar aesthetic at work here - although Richard Franck's music is undoubtedly more advanced than his father's (in the sense that he was active later in the nineteenth and early twentieth centuries) it still occupies a rather conservative position within the artistic currents of the time just as Eduard's had done a generation or so earlier. Whether due to the influence of his father's style or due to his own innate gifts, the virtues of these two generously proportioned trios are precisely similar to those evinced by his father's oeuvre: structural clarity, elegant and pointed command of harmony and a rich fund of appealing, often quite beautiful melody.The instantly memorable theme that opens the 'Allegro' of the B minor trio is a case in point, though material from practically anywhere in these works would serve equally well as an example; here it is supported and carried forward by the composer's elegant piano writing (the instrument was his speciality) in a movement that is buoyant and optimistic despite the key signature - the use of the minor serving to add an impassioned quality to his writing rather than a tragic or grief-stricken mien. Franck may be a traditionalist but while he eschews innovation in any avant garde sense, there is a fine imagination at work throughout these works, such as in the finales and scherzos - that in the B minor trio contradicts the listener's expectations by reversing the usual order of things and having graceful outer sections frame a more lively (and, indeed, more traditionally scherzo-like) trio; that in the later trio, which opens with a piano solo of turbulent cast, is equally novel and it heralds a movement of striking vigour and even, at times, seriousness - this is no light-hearted fantasy piece. Slow movements are heartfelt and the performers respond with affection to his warmly emotional sound world; their interpretation of what the booklet analysis calls "short, passionate insertions" that interrupt the flow of the E flat trio's 'Adagio' are beautifully judged, as is their realisation of the same movement's dreamy coda.As I have already suggested all three artists are right on the mark with their performances and, though it is invidious to single out any one among them, Bernhard Fograscher does merit mention in particular for his handling of Franck's piano writing, which remains demanding for all the elegance it so often displays. Audite's sound quality is no less worthy of credit, wonderful clarity and ideally balanced.As with the companion disc dedicated to the same composer's piano quartets -  Franck, R - Piano Quartets & Fantasies  - this issue really makes the best possible case for Richard Franck's considerable creative gifts and either would make a fine introduction to his work. And like that disc, needless to say, this one also comes highly recommended.