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Sont-ce les instruments, joués historiquement informés, à commencer par le Conrad Graf de Paolo Giacometti sec et court, mais jamais le Deuxième Trio de Schubert n’aura raisonné aussi mince : il ne faut pas confronter à cette estompe le grand geste symphonique de Viviana Sofronitzky et de ses amis. La surprise passée, je peine pour m’attacher à cette impitoyable mise au net qui montre le chef d’œuvre dans sa nudité, mais à ce point ne pas vouloir interpréter asphyxie tout de même les élans, les mélodies si ailées, la grâce du chant. Cela compte, vétille, le clavier picore, les cordes se citronnent, et c’est Schubert pourtant qui survit malgré tout. (Discophilia - Artalinna.com) (Jean-Charles Hoffelé)  Some of Franz Schubert’s music – like the Trout Quintet or the Ave Maria – is heard time and again, while other pieces are hardly ever played. Even when the focus is on his chamber music, these extremes are evident. Of all fifteen string quartets, Death and the Maiden is played most, while others are true Cinderellas. The wonderful String Quintet in C major is played fairly frequently, and the two Piano Trios a little less. The present recording features beside opus 100, a great rarity, the Notturno in E flat major opus post.148 D897 for violin, cello and piano. Like much other chamber music, this piece was probably first played among Schubert’s friends, or in his home, with the composer at the piano, his brother Ignaz or Ferdinand on the violin and father Schubert on the cello. Among the Schubert family the piece was known as the Adagio in E flat major. The publisher Diabelli fished it out of the composer’s estate in 1844 and issued it under the fantasy name Notturno. Today we know that it was written as second movement for the Piano Trio in E flat major opus 100, but then rejected by the composer himself. In its melodies and modulations Schubert’s pioneering style in the nineteenth century is clearly recognisable
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