Mendelssohn composed
his impressive Octet in E
Flat major, Op. 20 virtually out
of the blue with no precedents or models
to follow. Compositions for octet were
extremely rare especially those for
strings only. Spohr had recently composed
a work for double string quartet which
was not the same as an eight-part octet.
Furthermore Schubert and Beethoven had
written octets for strings and winds.
It is possible that Mendelssohn had
heard the Schubert Octet which
was first performed in 1824.
Music writer William
Altmann aptly described the spirit of
the Mendelssohn Octet, "The
sea of sound that rages through the
Octet is very powerful, achieving
indeed quite an orchestral tone at times,
though there is no lack of delicate
passages." For me it is a work
of pure genius and it is amazing that
Mendelssohn was only sixteen when he
wrote the work. Mendelssohn left the
instructions that, "This Octet
must be played by all the instruments
in symphonic orchestra style… Pianos
and Fortes must be strictly observed
and more strongly emphasised than is
used to in pieces of this character."
The way the Leipziger
Streichquartett alternate between the
orchestral aspect that Mendelssohn required
and that of a violin concerto is especially
well done. The second movement Andante
does tend to get slightly bogged-down
in this interpretation as the players
seem to run out of stream. The famous
Scherzo is a celebrated Mendelssohn
creation which has been described as
a masterpiece in many quarters. The
players successfully convey a believable
atmosphere evocative of fairyland and
ghostly fantasy although I would have
preferred more spring in the players’
step. The concluding Presto is
remarkably successfully done by the
players who seem to perform with a newly
found vigour and with enviable tone
and rhythm.
My particular favourite
version of the Octet is the emotionally
charged reading from The Chamber Music
Society of Lincoln Center on Delos DE
3266. I especially enjoyed the ardent
and exciting reading from the Lincoln
Center players. It provides a remarkable
contrast between the required tension
and tranquillity, combined with realistic
sound quality.
Mendelssohn wrote the
String Quartet in E flat major in
1823 when he was only fourteen. Although
published posthumously the work has
been severely neglected over the years.
I would not disagree with descriptions
of the quartet as being a ‘student exercise’
with the treatment of the instrumentation
restricted. However the work certainly
has a special charm and artistry which
the Leipziger Streichquartett relish.
Their playing is delightful, always
alert and sensitive. They offer a fine
performance.
I am familiar with
a version of the 1823 String Quartet
in E flat major by the Aurora String
Quartet on Naxos 8.550862. The Aurora
give an enjoyable performance but for
me lack the delicacy and sensitivity
that the Leipziger Streichquartett provide.
The annotation in this
MDG Gold release is interesting and
detailed yet a touch too technical at
times. Top marks for the sound quality
which is well balanced and extremely
clear.
A fine release from
MDG Gold. Beautifully recorded performances
that should provide much enjoyment.
Michael Cookson
Leipziger Streichquartett 