This CD, consisting of two Schubert chamber scores, is one of
a series of recordings from Eterna Edition. Berlin Classics
have been reissuing recordings from the former East German state-owned
label. There are so far 30 CDs available in the series. These
include a number of names that were active on the Soviet side
of the Iron Curtain. Even today they are still little known
and include such conductors as Franz Konwitschny, Heinz Rögner,
Otmar Suitner and Max Pommer. The original Eterna LP, issued
three years after the launch of the CD, offered up Schubert’s
Trout Quintet and the Adagio and Rondo concertante
both recorded in 1986 at the Dresden Lukaskirche in digital
sound. Berlin Classics have added a nice touch by using the
cover designs taken from the Eterna LP sleeves. Sadly the booklet
notes are entirely in German. The Gewandhaus Quartet Leipzig
is the world’s oldest, uninterrupted existing string quartet.
Remarkably it was founded over 200 years ago in 1808 by Heinrich
August Matthäi, a former leader of the Leipzig Gewandhaus
Orchestra. It has continued to the present day from generation
to generation.
Schubert’s Trout Quintet D667 is one of the most
glorious works in all chamber music. It was composed in the
summer of 1819 not long after the composer’s return to
Vienna from his first spell teaching Count Johann Karl Esterhazy’s
two young countesses at Zseliz: then Hungary, now Želiezovce,
Slovakia. It seems that the score might have been a commission
by Sylvester Paumgartner, a wealthy local patron who was also
an amateur cellist. Evidently it was Paumgartner who suggested
that it might include a theme and set of variations on Schubert’s
own lied Die Forelle (The Trout) D550 (1817).
The delightfully vivid opening Allegro vivace truly sparkles.
The intensely songful F major Andante is wistfully reflective.
The concise A major Scherzo is played with an abundance
of warm summer joy which is followed by the freshly compelling
and wide-ranging theme and five variations. After a reserved
start the judiciously paced Finale in A major becomes
another lyrical outpouring of blissful emotion. It will come
as no surprise that there are a considerable number of competing
recordings. I have three in my collection that have consistently
delighted. My favourite remains the evergreen played by Clifford
Curzon and the Wiener Philharmonisches Streichquartett. Curzon
and the string players are on their finest form with highly
polished playing, captivating expressive eloquence and tremendous
lyricism. Recorded in 1957 at the Sofiensaal, Vienna, the analogue
sound has been successfully re-mastered on the Decca ‘The
Classic Sound’ series (c/w Clifford Curzon, members of
the Wiener Oktett: DvořákPiano Quintet, Op.
81). Also recorded at the Sofiensaal, Vienna is the 1983 digital
account from András Schiff and members of the Hagen Quartet
with Alois Posch (double bass). It’s artistically impeccable
and high on inspiration and pleasing characterisation. It’s
on Decca Ovation 458 608-2 (c/w András Schiff’s
reading of Moments musicaux D780). Another winning account
is from the starry team of James Levine (piano), Gerhart Hetzel
(violin), Wolfram Christ (viola), Georg Faust (cello) and Alois
Posch (double bass). I admire their characterful playing which
radiates great warmth and dedicated musicality. Recorded in
1990 at the Abersee, Kirche St. Konrad, Austria, the performance
is on Deutsche Grammophon Entrée 471 740-2 (c/w the Hagen
Quartet’s String Quartet Death and the Maiden,
D810 ).
The Adagio and Rondo concertante in F major for piano,
violin, viola, and cello, D487 is one of Schubert’s lesser
known scores. It seems that itwas composed in 1816 for
Heinrich Grob, the younger brother of Schubert’s first
love Therese Grob, who played the cello and piano. The score,
which has often been likened to a small-scale piano concerto,
here takes around thirteen minutes to perform. Pianist Peter
Rösel and his colleagues are in excellent form. Their playing
of the Adagio with its rather tentative opening feels
insightful with a surface calmness belying an undercurrent of
unsettling tension. Equally striking is the Rondo with
the players skilfully underlining Schubert’s buoyant lyricism
and exuberance. Relative to the Trout Quintet
there are only a relatively small number of comparison recordings.
Probably the most recommendable is from Jenö Jandó
(piano) and members of the Kodály Quartet with double
bass player Istvan Toth. It was recorded in 1991 at the Unitarian
Church, Budapest and can be heard on Naxos 8.550658 with the
Trout Quintet.
This Schubert reissue boasts a marvellous balance between piano
and strings. Ideally I prefer to hear Schubert chamber scores
with a slightly warmer sound however this is clear and cool
sound with a compelling presence. These straightforward readings
are highly appealing and bring an engaging integrity to Schubert’s
lyrical writing.
Michael Cookson
see also review by Rob
Barnett of previous release (0014392BC)
Masterwork Index: Trout
quintet
Peter Rösel (piano)