Schubert: Trio Opus 100, Sonatensatz & Notturno Romantic Alpha

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Chandos Records is one of the world's premier classical music record companies, best known for its ground breaking search for neglected musical gems. The company has pioneered the idea of the 'series' and proudly includes series of such composers as Prokofiev, Tchaikovsky, Parry, Walton, Grainger, Berkeley and Bridge. Renowned for its superb sound quality, Chandos has won many prestigious awards for its natural sound.

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“… the Busch Trio, while they play on modern instruments, bring us closer to the intimacy and emotional norms of Schubert’s world.”

Raymond Tuttle - Fanfare - May/June 2021

"... the major works here are given absolutely inspiring performances. Strongly recommended."

Huntley Dent – Fanfare – March/April 2021

***** Coup de Cœur

Fabienne Bouvet – Classica magazine (France) – February 2021

“…The Busch Trio with Mathieu van Bellen, violin, Ori Epstein, cello and Omri Epstein, piano, plays these two works [piano trios D. 28 & D. 929] with a certain optimism and dynamism. The propulsive, communicative playing of the three musicians really brings Schubert’s E-flat major trio to life … Above all, the musicians focus on the quality of the music and thus present Schubert as a legitimate successor to Beethoven. The interpretation of the Sonata Movement D. 28, which could possibly have been the slow movement of a planned 3rd piano trio, is also flawless. Here, too, the Buschs inspire with expressive performance and beguilingly beautiful playing. Schubert’s Notturno D. 897 concludes this CD at the very highest level.” *****

Alain Steffen – Pizzicato.lu – 22 December 2020

Expressive and well-balanced playing relishes Schubert’s optimistic side

“… Violinist Mathieu van Bellen (who plays the ‘Adolf Busch’ Guadagnini of 1783) and cellist Ori Epstein (on an 1815 Ceruti) match their sound to a remarkable degree, achieving a combined clarity, gently vibratoed purity and athletic poise that integrate perfectly with the piano. Captured in well-balanced, truthful sound, free of artificial reverberation, the two fillers tantalisingly suggest a composer looking forward to even greater things – sadly, in the case of the Notturno, destined never to be fulfilled.”

Julian Haylock – The Strad.com – 26 November 2020

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