January 1971.

Now here is the way a classic trio should play on records. Three performers, playing chamber music and making it sound like chamber music in spite of big liveness and lots of space in the recorded product. Good. All three instruments, in fact, are almost more than real, very flutey, cello-ish, pianistic. Quite an uncanny sense of their actual presence. No distortion whatever and fully Dolbyized for that velvety background...This record doesn't sound like a recording. And that's a compliment!

Weber is, of course, the famed opera and overture composer of the turn of the 19th century. Dusik is better know in the Germanized spelling, Dussek...He was very well known in his day, if a second-line composer in our later view.

You guessed it. Or maybe you didn't. Dusik wins, hands, bows, and fingers down. A really splendid, heartfelt, rich piece, out of the Beethoven era but full of a Dvorakian charm and grace. We sense that in this music we are hearing Dusik at his all-out best—this is no quickie work but a real labor of musical love. You'll like it.

Weber, potentially a much bigger man, is just as clearly turning out what Dr. William B. Ober in his engaging program notes barely manages to avoid calling a potboiler. (He couldn't say that, after all.) Weber was an opera man, a big-drama man, apt with a clarinet, an orchestra, a virtuoso piano. This chamber-music stuff did indeed cramp his style. There are fine flashes of Weber melody and a lot of sheer originality. But half the time one hears Weber somehow saying, now what'll I do next?

By Edward Tatnall Candy