Franz SCHUBERT (1797 - 1828)
Octet in F Major, D 803 [53.07]
Ludwig SPOHR (1784 - 1859)
Octet in E Major [24.56]
The Vienna Octet (Schubert). Willi Boskovsky (violin I), Philipp Matheis
(violin II), Günther Breitenbach (viola), Nikolaus Hübner
(cello),Johann Crump (double bass), Alfred Boskovsky (clar), Josef Veleba(horn),
Rudolf Hanzl (bassoon). (Spohr). Willi Boskovsky (violin), Günther
Breitenbach (viola I), Philipp Matheis (viola II), Nikolaus Hübner (cello),
Johann Krump (double bass),Alfred Boskovsky (clarinet), Josef Veleba (horn
I), Otto Nitsch (horn II).
Recorded March 58 (Schubert) and March 59 (Spohr) Sofiensaal, Vienna ADD
DECCA Legends 466 580-2 [78.03]
Crotchet
This CD from Decca in its new mid-price Legends series returns the Schubert
Octet to the catalogue in a highly regarded issue from the late 1950's. The
Spohr Octet, its coupling, is new to CD. They are products of the John Culshaw,
Gordon Parry, Erik Smith era that is now looked back upon with such affection
by those of us of a certain age. At the time Decca had established close
connections with the Vienna Philharmonic Orchestra, a relationship that already
with Rheingold had started to give us the us the complete Solti
Ring cycle. John Culshaw in "Putting the Record Straight" tells
how the VPO was snatched by Decca from EMI, its long-time contracted Recording
label partner, and Decca signed up the then unaligned Vienna Octet through
the links established in negotiations with the Orchestra.
Willi Boskovsky, then leader of the VPO, and his brother Alfred had formed
the Vienna Octet in 1947 and throughout its life - with its original personnel
it lasted until the early seventies - apart from the occasional guest pianist
its members were always drawn from the closely-knit ranks of the Orchestra.
Schubert's commission for the work was for "a piece exactly the same as
Beethoven's Septet" which was all the rage in 1824 with arrangements, near-copies
and would-be replacements being published everywhere. He added a second violin
and wrote a longer piece - if all the repeats are observed the full performance
would take over an hour.
And how does today's listener react to this Schubert Octet from 1959? In
a word - favourably. The remastering has used everything that state of the
art technology can offer but we are still left with a recording that does
not have the immediacy and closeness that we expect these days and there
is some unpleasant boominess and occasional honks from the double-bass and
horn. Nor does it have the stereo spread that today's discs have. But, thank
goodness, the spread is natural, there is some depth and perspective and
there is no highlighting gimmickry. When an instrument has its solo or prominent
part, at least it stays in the same physical plane as it is in for the ensemble
passages.
The performance itself is a delight. This is team playing at the highest
level and coming from where it does - no doubt a Viennese claim would be
made for it as definitive (missing repeats apart). The sound of the group
is warm and pleasant to the ear and apart from some lack of definition from
the recording the blend of woodwind and strings is exemplary. My notes include
the terms "Viennese lilt" (second movement Adagio)
"irresistible" (Allegro Vivace), "smiling" (the minuet)
and a single word "excellent " for the Theme and Variations.
In some ways it sounds old-fashioned, with less attack than we hear from
contemporary groups.
Ludwig Spohr's Octet, has unusual scoring for a single violin, two violas,
cello, bass clarinet and two horns thus allowing the stylish writing for
the often prominent violin to be heard more clearly. The work is probably
best known for its 3rd Movement Andante and Variations - the theme
being Handel's "Harmonious Blacksmith". The Finale too has an attractive
lolloping theme and the whole is lightweight, easy on the ear music. Neither
piece is too deep or too intense. It is happy music played by friends - at
least that is the impression it gives.
For anyone interested in Decca's recording techniques, and in particular
their placement and use of microphones, the web site at
www.deccaclassics.com/legends will be of considerable interest. It also has
the mouth-watering list of more of this Legends series. I cannot avoid mentioning
the presentation of the disc itself. We all know the mock LP that DG do for
their Originals - Decca have made their CD look like a reel of tape
and it's quite eye-catching.
Reviewer
Harry Downey
