Aureole etc.




Nimbus on-line




If it’s the Czech works you’re after, do not hesitate

  Founder: Len Mullenger
Classical Editor: Rob Barnett

Some items
to consider

 


Enjoy the Gothenburg Symphony Orchestra wherever you are. App available for iOS and Android

Lyrita 4CDs £16 incl.postage

Lyrita 4CDs £16 incl.postage


Decca Phase 4 - 40CDs


Judith Bailey, George Lloyd


BAX Orchestral pieces


CASKEN Violin Concerto

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

REVIEW
Plain text for smartphones & printers


Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample


Support us financially by purchasing
this disc through MusicWeb
for £12 postage paid world-wide.

Franz SCHUBERT (1797 - 1828)
String Quartet No. 15 in G major, D887 (1826) [52:20]
String Quartet No. 12 in C minor, D703, Quartettsatz (1820) [9:45]
Wihan Quartet
rec. Martinu Hall, Academy of Performing Arts, Prague, 20-21 June 2012. DDD
NIMBUS ALLIANCE NI 6221 [62:12]


 
What a tremendous, grand scale string quartet Schubert’s fifteenth is and especially so in this performance by the Wihan Quartet. The imposing opening (tr. 1) moves instantly from a mysteriously shining crescendo in G major to a dramatic crash of a chord in G minor - from peace to terror. This proclamation inspires further rhetoric: the first theme (0:41) appears over a tremolando background in short but appealing gasps from first violin then cello. There’s an element of deference about it which is new, followed by a tougher extension of the opening proclamation sturdily presented by the Wihans. A plateau of relaxation is reached in the second theme (2:26), founded on syncopation – this is welcome, comforting and seemingly capable of endless continuity. The first violin soon expatiates over it but melody is always aligned with drama. It’s the passionate variation of this theme which takes up most of the rest of the exposition. This is vehemently realized by the Wihans. At 4:05 the cello says no and brings a new and individual eloquence to the expression of the second theme. At 5:14 comes the viola’s turn to argue individuality against a febrile first violin counterpoint.
 
Not until the development (12:45) does the first theme return and you’re reminded that, too, is powerfully individual. This reaches a state of frenzy yet at the same time with an appreciable contrasting of dynamics - as Schubert marked - showing that emotion, ultimately, can be controlled. The rhetoric exhausts itself, the movement’s opening fanfares are calmly resolved and at 16:58 there’s a beautifully elaborated version of the first theme carried by the first violin. The recapitulation of the second theme, however, is more ascetic because the cello has broken away from the others’ chords yet simultaneously meditates on them. It continues to do this when the second violin takes up the theme at 20:15. The Wihans make the contrasts clear and you’re caught up in them, wondering if and how they’ll resolve.
 
Theirs isn’t the only way of presenting this masterly work. I was struck by this when I compared the 1978 recording by the Chilingirian String Quartet (Nimbus NI 5048/9). With the Chilis fluency is a key issue. Their timing is 14:30 against the Wihans 22:17: this is partly because they omit the exposition repeat. Had they included it their timing would only have been 20:00. Arguably they might pay more attention to the ‘molto’ aspect of Schubert’s marking ‘Allegro molto moderato’ but this brings more sense of stimulation to the first theme, more excitement as the opening proclamation is developed. Their second theme is presented more liltingly and the solos allow the different instruments to relax in turn. Generally the Chilis’ approach is more objective which clarifies the movement’s structure. Their recapitulation of the second theme has a softer focus with more warmth and comeliness. They don’t maintain as uniform an intensity as the Wihans so their presentation of the coda is more exciting and precipice-like in its ambivalence between major and minor. This persists until the last moment.
 
The Wihans’ slow movement is clearly a lament in the solo cello with sighing accompaniment from the violins. Its central section is a rigorous, formal protest yet not quite as intense. There’s a good reason for this. The sad return of the opening section softens when the first violin starts a decorative comment on the cello solo, before the roles are reversed. After the return of the second section this exchange reappears in warmer, even rather whimsical fashion. After this a more neutral cello solo makes the transition to the opening material in the major key and to calm acceptance. The Chilis’ account emphasizes the ‘un poco moto’ Schubert added to the movement’s ‘Andante’ marking. It is timed at 11:40 against the Wihans’ 12:39 to produce a more flowing account. It is sorrowful but less sepulchral, presenting the organic development of the movement more cogently. Its second section is more impassioned but the opening material, moving seamlessly into its warmer phase and the lighter texture and key change of the close, are fastidiously presented.
 
The Scherzo’s Allegro vivace is breathtakingly realized by the Wihans. Everything is trimly in place and delivered with urgency and edge. By contrast the Allegretto Trio is nostalgic. Its warm cello solo is answered by the first violin and in the second strain all the instruments get a share of the melody, yet it too presses forward. The Chilis’ Scherzo is less mettlesome than the Wihans but I prefer it because there’s more excitement in their energy. With just a touch more space their Trio is more maternal and caressing and thereby has more emotional coherence.
 
Urgency is more welcome in the stunning account the Wihans give of the finale (tr. 4). Syncopation is almost constant and the virtuosity of the first violin is on display relishing the challenge. The second strain of the first theme isn’t repeated but enjoy the flibbertigibbet of a second theme (1:33) which introduces an element of playfulness rather absent from the Wihans’ Scherzo. Other notable features are the moment of breadth at 3:10 when briefly there are bars without running quavers. A more expansive version of the first theme in dotted crotchets in the second violin appears from 4:48. This is grimly echoed by the cello in low register. The Chilis have a lighter touch, even at a faster tempo which has a more carefree manner, a touch of abandon. Though their timing for the Allegro assai is 10:32 against the Wihans’ 10:23 they repeat the second strain, so their equivalent timing is 9:45. This makes for greater consistency between first and second themes and a jauntier realization of the second violin’s dotted crotchet presentation. Even so, the moment of breadth is less strongly characterized.
 
To sum up, the Wihans bring more panache and drama, the Chilis more eagerness and structural clarity. The relentless Wihans will impress you more but the Chilis are easier to live with on repeated playings.
 
Things are rather different in the Wihans’ bonus on this CD. In the Quartettsatz (tr. 5) the Wihans emphasise fluency and balance over drama. They step back a little, while still remaining expressive, and present a more rounded, classical perspective. This different approach from String Quartet 15 makes an effective contrast and suits the work well. However nervy and restless the opening might be, more of a flourish than a theme, its return in the coda is emphatically dismissed. The seamlessness of the movement is striking in the Wihans’ performance: the way we’re quickly into the consoling homeliness of the lyrical outpouring of the second theme (0:35) with the gradual extension of the cello’s counter-melody to that of the first violin. Also appreciable is its ambivalence, in particular its Mendelssohnian continuation as is the slow, calm version of the bristling opening which closes the exposition. Here’s an unusual case of the development (5:58) making things rosier. It’s all very neatly, satisfyingly crafted and you appreciate Schubert’s problem how to follow this movement: one he never resolved.
 
Michael Greenhalgh
 

 
See also reviews by Terry Barfoot and Michael Cookson

Experience Classicsonline