Whether considered alone or in relation to other editions, COLH 40 is a document of prime importance. Artur Schnabel was one of the greatest Schubert-Beethoven-Mozart players of all time, and any commentary of his on this repertory is valuable. But Schnabel was a great teacher in addition to being a great performer, and the fact that four of the ten versions I listened to are by Schnabel pupils (Clifford Curzon, Frank Glazer, Adrian Aeschbacher, and Victor Babin) also sheds light on the master's pedagogical skills. Certain pianistic traits are common to all five Schnabelian renditions, most notably the ``Schnabel trill'' (which differs from the conventional trill in that the two notes are struck simultaneously). But the most impressive testimony to Schnabel's distinction as a teacher is reflected by the individuality which marks each student's approach as distinctly his own.

Schnabel's emphasis on structural clarity, his innate rhythmic vibrancy, and impetuous intensity all tend to stamp his reading as a symphonic one. Yet no detail was too small to receive attention from this master, and as a result the playing here has humor, delicacy, and radiant humanity. This is a serious minded interpretation, but it is never strait-laced. And although Schnabel's pianism bristles with excitement, it is meticulously faithful to Schubert's dynamic markings and phrase indications. The piano performance on this Trout is one that really demands a search for superlatives.