Schubert’s chamber
music is particularly well served in
the CD catalogues at the moment and
I for one am happy with the increasingly
wide choice available. Naxos and Kodaly
have recently finished their complete
survey of the fifteen string quartets.
Now we have the second volume of the
intended complete survey from the German-based
Mandelring Quartet.
A few months ago I
reviewed a Schubert string quartet double
set from the Brandis Quartet of the:
A minor ‘Rosamunde’; D
minor ‘Death and the Maiden’;
C minor ‘Quartettsatz’
and the G major D.887 on Brilliant
Classics 99288. Earlier this year I
was delighted to tackle a Schubert four
disc set from the Lindsay Quartet. That
one comprised the: ‘Death and the
Maiden’; ‘Quartettsatz’;
‘Rosamunde’ D.804; B flat
D.112; G major D.887 with the
C major Quintet D.956 all on
Sanctuary Classics Resonance RSB 403.
The ‘Rosamunde’
Quartet was the only one of Schubert’s
four string quartets published in his
lifetime. Composed in 1824 in the shadow
of a fatal illness this brooding work
also happens to be one of the greatest
ever written. Known as the ‘Rosamunde’
it reuses themes from the composer’s
incidental music to the unsuccessful
play; it serves throughout as an intimation
of the pained memories of happier times.
I admire the last movement marked allegro
moderato showing as it does the
composer’s wealth of invention.
In the ‘Rosamunde’
the performance from the Mandelring
presents a secure ensemble yet I was
often bewildered with their choice of
tempos and the slight amount of passion
they provided. Their opening allegro
feels too measured and the tranquil
andante lacks feeling and tends
to lose its way. I also felt that additional
vitality and intensity was needed in
the third movement minuet. In
the concluding allegro the Mandelrings
seem reluctant to provide sufficient
urgency and vigour, treating the music
as if they were handling delicate porcelain.
Consequently Schubert’s optimism and
spirit never stands a chance of materialising.
My ideal account of
the ‘Rosamunde’ is the
version performed on period instruments
by the eminent Quatuor Mosaïques
on Auvidis Astrée E 8580. This
is a compelling version noted for the
quartet’s special playing where the
personality of each member comes across
so engagingly. The sublimely emotional
second movement andante is played
with remarkable sensitivity and poetry,
to provide an intensely moving experience.
Being familiar with the interpretation
from Quatuor Mosaïques I can fully
understand how influential music writer
H.L. Mencken stated that this music
was the proof he needed for the existence
of God.
Schubert’s String
Quartet No. 11 was almost certainly
composed in 1816. At this time in his
life Schubert had been highly influenced
by his teacher Antonio Salieri. He was
also indebted to the works of Mozart
and Haydn, especially in the field of
chamber music, which they had elevated
to become a touchstone of craftsmanship,
sonorous delicacy and formal proportions.
It was in this context that the teenage
Schubert wrote this quartet, probably
composed for his family. Its technical
demands were far beyond the faculties
of even gifted amateurs.
The String Quartet
No. 11 is a work fully conceived
in Viennese classicism and demonstrates
a growing self assurance. Immediate
signs of greater maturity are heard
in the opening of first movement marked
allegro con fuoco, and
the minuet combines the earthy
stamping rhythm of contemporary dance
with a sense of aloofness in the trio.
In the final movement rondo Schubert
lightheartedly alludes to the main theme
of the final movement of Mozart’s Symphony
in E flat major, K543 only to turn
elsewhere immediately.
In the opening allegro
the playing of the Mandelring is
tentative although small quantities
of vitality are glimpsed. The slow movement
andante is given a reverential
reading that provides a suitable degree
of expression. They once again seem
wary in the minuet. I was content
with their dynamics yet unfortunately
there was insufficient forward momentum.
The final movement rondo is adequately
performed although I would have preferred
more weight.
Overall in these two
Schubert string quartets the Mandelrings
provide an adequate security of ensemble
and their timbre is pleasing. Sadly,
I experienced their playing as over-cautious,
lacking the appropriate amount of vigour
and exuberance, and the readings felt
emotionally chilly. The annotation is
acceptable and the Audite engineers
have supplied an enjoyable sound.
I do not have an alternative
version of the E major Quartet that
I am able to recommend. However, I hear
good reports of the version from the
Melos Quartet on their six disc
set of the complete Schubert string
quartets on Deutsche Grammophon
463 151-2.
Michael Cookson
Mandelring Quartett: (Sebastian Schmidt (violin);
Nanette Schmidt (violin); Roland Glassl (viola);
Bernhard Schmidt (cello)) 
