Franz SCHUBERT (1797-1828)
Piano Quintet in A major Trout D667 (1820) [34:51]
Adagio and Rondo concertante for piano quartet, D487 [13:31]
Peter Rösel (piano); Gewandhaus Quartet Leipzig (Karl Suske (violin);
Dietmar Hallmann (viola); Jürnjakob Timm (cello); Rainer Hucke (double
bass))
rec. July 1986, Lukaskirche, Dresden, Germany
BERLIN CLASSICS ETERNA EDITION 0300377BC [48:33]
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
Straightforward and compelling … highly appealing.
see also review by Rob Barnett of previous release (0014392BC)