Franz Schubert: Octet in F Major, D.803

On this CD:

1. Octet for clarinet, horn, bassoon & strings in F major, D. 803 (Op. posth. 166)
Composed by Franz Schubert
Performed by Jorg Baumann, Berlin Soloists, Wolfram Christ, Bernd Gellerman, Bernhard Hartog, Karl Leister, Klaus Stoll, Milan Turkovic, Radovan Vlatkovic

Tracks:

Rosamunde, D. 797: Overture
Mozart: String Quartet In B-Flat Major, K. 172
Marche Militaire, D. 733, No. 1
Hark, Hark, The Lark!, D. 889
Mass No. 5 In A-Flat Major, D. 678: Credo
Symphony No. 5 In B-Flat Major, D. 485: Allegro
Symphony No. 4 In C Minor, D. 417 'Tragic': Finale: Allegro
Moment Musicaux No. 3 In F Minor, D. 780
Piano Sonata In A Minor, D. 845: Moderato
The Erl King, D. 328
Symphony No. 2 In B-Flat Major, D. 125: Allegro
Symphony No. 6 In C Major, D. 589 'Little': Andante
Symphony No. 6 In C Major, D. 589 'Little': Scherzo
To Music, D. 547
The Trout, D. 550
Piano Quintet In A Major, D. 667 'Trout': Theme And Variations
Octet In F Major, D. 803: Finale
Impromptu In B-Flat Major, D. 935 No. 3
String Quintet In C Major, D. 956: Allegro ma non troppo
Wanderer Fantasy In C Major, D. 760
Symphony No. 8 In B Minor, D. 759 'Unfinished': Allegro moderato
Symphony No. 9 In C Major, D. 944 'Great': Andante-Allegro ma non troppo
Mass No. 6 IN E-Flat Major, D. 950: Gloria
String Quartet No. 14 In D Minor, D. 810 'Death And The Maiden': Andante con moto
Symphony No. 8 In B Minor, D. 759 'Unfinished': Andante
Ave Maria, D. 839
Symphony No. 5 In B-Flat Major, D. 485 (Complete): Allegro
Symphony No. 5 In B-Flat Major, D. 485 (Complete): Andante con moto
Symphony No. 5 In B-Flat Major, D. 485 (Complete): Menuetto: Allegro molto
Symphony No. 5 In B-Flat Major, D. 485 (Complete): Allegro vivace

Customer Reviews:

inspired performance !!!.......2001-09-02

this collection deserves more than 5 stars.peter maag and the philharmonica hungarica are in top form.this is the best ever of schubert's fifth and eigth i have ever listened to.it is not karl bohm or leonard bernstein or george szell or lorin maazel.
truly the hungarians inspired by maag easily beat all the other top orchestras.
the orchestral texture is transparent with a perfect balance among the string sections ,the woodwind and the brass sections.peter maag obviously loves this music and brings out the heavenly beauty ,the pathos and the monumental dramatic quality of these works.
just listen to schubert's fifth second movement which ends with a heart rending cello phrase.
it is a shame that the well established record companies have not thought it fit to record more of peter maag.in my opinion he is one of the greatest ever conductors.
i will not exchange these performances for any other!

Average customer rating:

OLD FAVOURITE, NEW NONENTITY
Schubert's Hospitality

Schubert, Spohr: Octets / Wiener Octet
Franz Schubert , Louis Spohr , Vienna Octet , Willy Boskovsky , and Alfred Boskovsky
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Schubert: String Quintet in C, D. 956
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Brahms: Piano Concerto no 1 / Curzon, Szell
Mendelssohn: Octet, Op. 20; Quintet, Op. 87

ASIN: B00004TEUV
Release Date: 2000-07-18

Tracks:

Octet In F Major, D803: I Adagio - Allegro
Octet In F Major, D803: II Adagio
Octet In F Major, D803: III Allegro vivace
Octet In F Major, D803: IV Andante
Octet In F Major, D803: V Menuetto: Allegro
Octet In F Major, D803: VI Andante molto - Allegro
Octet In E Major, Op.32: I Adagio - Allegro
Octet In E Major, Op.32: II Menuetto: Allegro
Octet In E Major, Op.32: III Andante con variazioni: Tema di Hel
Octet In E Major, Op.32: IV Finale: Allegretto

Customer Reviews:

OLD FAVOURITE, NEW NONENTITY.......2006-02-12

This recording of Schubert's octet was made in 1958, that of Spohr's in 1959. I bought the LP of the Schubert as soon as I first saw it reviewed, and I own it to this day. It was a favourite of mine from the first time of putting it on the turntable, and it is a favourite still, which is not something I could say of all my early choices, much though I agonised over them and budgeted for their purchase. This is a heavenly piece of music, and a heavenly performance of it. The recording, which was good for its time, seems to have been freshened up a little. No dramatic improvements in the sound-quality were needed, and thankfully the producers have not tried to be clever in any unwanted ways. Schubert's octet is a miracle of instrumental sound. It shows an acute sense for the distinctiveness of the three wind-instruments in particular - even Tovey, for whom Beethoven possessed attributes more commonly ascribed to deity than to composers, says with admirable candour that Schubert understood the clarinet better than his idol did. You will find all Schubert's little marvels of tone-colour presented with a natural and unforced understanding in this performance - the clarinet melody in the adagio when the key changes and the music suddenly seems deeper in mood and more formidable, the violins in the theme of the andante, the theatre-orchestra effect in the introduction to the last movement, and above all the celestial tune of the minuet's trio section with its wonderful scoring for violin and bassoon. The tempi are absolutely right from beginning to end also, and one has the sense that this Vienna Octet were born and destined to perform this most Viennese of all composers.

Spohr's octet is new to me, although I own a fine performance on vinyl of his nonet. The octet doesn't seem to me the equal of that work, which is in effect for a mini-orchestra. Still less is it any kind of rival to Schubert's octet. It is a much smaller effort for one thing, and I don't find myself particularly convinced by the experiment it represents in scoring and tone-colouring. The instrumentation is for violin, two violas, cello, double bass, two horns and clarinet. I must say that sounded promising, and I expect it would have fulfilled its promise if the composer had been Schubert or Brahms or Strauss. From Spohr the effect disappointed me, and I'm convinced that's the fault of the work itself and not of the players who give it every last ounce of t-l-c. I surmise it wouldn't sound much different if rescored for, say, double string quartet like Mendelssohn's octet. Spohr was compared by Tovey with Hummel to the latter's disadvantage, but I'd have to say that my own experience of both (admittedly limited) would lead me to the opposite view. Still less do I understand at this late date how Spohr came to be mentioned in the same breath as the greatest by W S Gilbert - `...masses and fugues and ops,/And Bach interwoven/With Spohr and Beethoven/At classical Monday pops.' Nevertheless as a novelty extra with a performance of Schubert that I would have had to own at any price I suppose it's very welcome, and the recording is up to that of Schubert's too.

The liner-note is sound, workmanlike and relevant, which is more than I can often say. The front of the leaflet shows the original members of the Vienna octet in one of those group poses that no group ever adopted in real life. The back of the leaflet has, I am delighted to say, the picture that has been on the sleeve of my LP for the best part of 50 years, so that will ease the pain of parting with it now that it has become supernumerary.

Schubert's Hospitality.......2000-09-27

I liked this CD the first time that I heard it, and I appreciated it more the more I times that I played it. It's the kind of CD that I can play every day, several times a day, and not grow tired of it. When I listen to it I sometimes feel as though I have walked a long way in the snow, been invited into Schubert's house, been given dry clothes, been seated in front of a pile of burning logs, been given a warm drink, and am enjoying conversation with my best friends, one of whom is this wonderful host named Franz Schubert. The music is consistently congenial, and the Viener Oktet play beautifully, each instrument contributing its charming part to this most pleasant experience. Don't be surprised if after listening to it you later find yourself whistling some of its melodies as you walk down a street.

Average customer rating:

A convenient collection of good to excellent readings of 3 chamber music masterpieces, but beware of frustrating duplication

Schubert: Great Chamber Works
Franz Schubert , Beaux Arts Trio , Samuel Rhodes , Georg Maximilian Hortnagel , Academy of Saint Martin in the Fields Chamber Ensemble , and Quartetto Italiano
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001GAS50
Release Date: 2004-04-16

Tracks:

Piano Quintet In A Major - Allegro Vivace
Piano Quintet In A Major - Andante
Piano Quintet In A Major - Scherzo
Piano Quintet In A Major - Tema Con Variazioni
Piano Quintet In A Major - Finale
String Quartet No. 14 In D Minor - Death And The Maiden
Octet In F Major - Adagio - Allegro
Octet In F Major - Adagio
Octet In F Major - Allegro Vivace
Octet In F Major - Andante
Octet In F Major - Menuetto; Allegretto
Octet In F Major - Andante Molto - Allegro
Adagio In E Flat Major - Notturno

Customer Reviews:

A convenient collection of good to excellent readings of 3 chamber music masterpieces, but beware of frustrating duplication.......2006-12-15

Philips has brought together on the twofer from their mid-price "Duo" series good to excellent interpretations of three of Schubert's chamber music masterpieces : the "Death & the Maiden" string quartet recorded by the Quartetto Italiano in 1965, the "Trout" Quintet by the augmented Beaux-Arts trio, made in 1975 (shortly after the recording by Gilels and the Amadeus Quartet for DG - see my review) and the string and wind Octet by the Academy of Saint-Martin in the Fields Chamber Ensemble, their first recording from 1977 (the made another one ten years later, for Chandos, albeit with only three members from the earlier ensemble). The beautiful Notturno, in the 1966 and first recording by the Beaux-Arts trio, serves as a lagniappe (it is also available on another fine "Duo", in a collection of Schubert's complete trios).

Of the three, the Academy's Octet is the best and remains, to this day, one of the best versions on modern instruments, and in my opinion much better than the Academy's Chandos remake (see my lengthy reviews of both under their respective full-price, original CD release). It is brisk and lively in the fast movements and highlighted by the fine instrumental colors of the winds, slow and meditative in the sublime "Adagio" (2nd movement) where Antony Pay's clarinet produces exquisitely hushed pianissimos. Its only (and not minor, in my opinion) flaw resides in the ensemble's unfortunate choice not to do the variations' repeats in the 4th movement (these repeats always have an architectural importance in Schubert's variation movements), added to the generally slow tempos and somewhat fussy phrasings adopted therein. Still, its availability on this favorably-priced twofer is very welcome, as the original CD issue has become difficult to find.

The Philips catalog is graced with many fine versions of the "Trout" Quintet, including Brendel's two recordings, and my personal favorite, with Ingrid Haebler and Arthur Grumiaux from 1966 (see my reviews). I've also reviewed the present recording by the Beaux Arts Trio, augmented of violist Samuel Rhodes and bassist Georg Hörtnagel, under its original CD release (paired with Beethoven's "Ghost" trio. It is now also available on a Pentatone SACD, with the not very coherent coupling of a Mozart clarinet quintet played by the Grumiaux Quintet from 1974). It is very good, expansive but muscular in the outer movements, forward-moving and almost sprightly in the "Andante" second movement. Violinist Isidore Cohen plays with warmth and charm, but Bernard Greenhouse has a slightly dry cello tonal production from the cello and Menahem Pressler's piano placement is slightly too forward and overbearing.

The Quartetto Italiano's reading of the "Death & the Maiden" is a classic. It is controlled and disciplined - maybe a little too much so - with great attention to architectural coherence and tempo consistency as well as to Schubert's myriad details of articulation and phrasings. Tempos are moderate, and the tension the Italianos elicit comes not from raging fury, as with ensembles such as the Capet Quartet in 1928, the Amadeus Quartet's first recording from 1953, the Emerson or Petersen Quartets among modern recordings, but from articulation and phrasings that are vigorous yet never at the expense of clarity and bounce. Their interpretation may be a little short on the sense of fury and despair that the above-mentioned recordings can produce, but it has something of a classic poise. Still, Philip's inclusion of it on this twofer was not necessarily the best choice, as it shows a disputable propensity to milk the cow: it is indeed, by my count, the 4th mid-price CD reissue of that classic recordings (search "Quartetto Italiano Schubert" for the others), which appears on another very desirable twofer from the Duo series with the ensemble's recordings of Schubert's late quartets, that the Schubert or Quartetto Italiano aficionado is likely to have. And that choice of Philips is all the more regrettable as the Italians' later, 1982 recording of "Death and the Maiden", in the ensemble's short-lived lineup with Dino Asciola replacing Elise Pegreffi as 2nd fiddler, is still, to the best of my knowledge, unreissued on CD.

Average customer rating:

One of the best of the Masterworks series
Will not buy this
Worth it!
Great way to jumpstart a schubert collection
Better to Pick a Few First-rate Performances

Schubert: The Masterworks [Box Set]

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00062FLJC
Release Date: 2004-11-30

Customer Reviews:

One of the best of the Masterworks series.......2007-07-06

Brilliant Classics' "Masterworks" series, if you can get them cheaply (and currently they go for about $1/CD from Amazon's France Web site), are a great way to amass a significant library of the works of several great computers. The production values and the performances themselves are uneven, and the interpretations are not always historically-informed (unlike the bulk of Brilliant's "Complete Editions" of the works of Bach and Mozart). But there are numerous gems in the rough in The Masterworks, and the economic value is unsurpassed, even if you were to throw away half of the CDs in each set.

You're unlikely to throw away much of this Schubert collection though. This seems to be the finest of the Masterworks sets, with a succession of solid, often first-rate performances of most of the major Schubert works. Here's what you get:

- The symphonies, performed by The Hanover Band in a historically-informed style. Very interesting performances perhaps marred by an odd recording balance that makes the woodwinds sound distant. Takes up four CDs
- The six Latin masses. Also the Deutsche Messe in the version with wind instruments. Five CDs in all
- Edison Denisov's completion of Schubert's unfinished dramatic work Lazarus (2 CDs, Helmuth Rilling's premier recording)
- The last four string quartets (including the Quartettsatz) with #9 thrown in. Also the octet, piano quintet ("The Trout"), string quintet and both piano trios. In short all the canonical chamber works. Performances are strong, and well recorded
- Two CDs of violin/piano duets, including Op. 137 and Op. 162
- 19 of the 21 "canonical" piano sonatas (missing #7 and #12) as well as the Moments Musicaux, Impromptus, German Dances, Wanderer Fantasy and several other piano works, 11 CDs in all. As with the chamber music, the performances and recordings are strong, often stunning
- Two CDs of piano duets, including the Divertissements and D. 617
- Song cycles: Die Schöne Müllerin, Winterreise, Schwanengesang, and four CDs of standalone songs, including such "standards" as Erlkönig and Gretchen am Spinnrade. The singers are a bit uneven here, ranging from standouts Robert Holl, Deitrich Fischer-Dieskau and John Shirley-Quirk to the somewhat shrill Arleen Augér

Missing from the collection is Rosamunde, and a number of famous songs: Die Forelle (The Trout), Death and the Maiden, Ellens Gesang III (the so-called Ave Maria, D. 839), Der Hirt auf dem Felsen and Der Wanderer. But you do have almost all the important instrumental works, and most of the vocal works generally considered to be essential, with some padding added in the form of minor works such as the parochial Deutsche Messe, the German Dances, and the modernist-informed completion of Lazarus by the 20th Century Russian composer Denisov.

As with the other Masterworks sets, there are no program notes. You'll need to do your own research. Answers.com is a good starting point for Schubert compositions. There are also no song texts or translations provided, so again you'll need to track down your own. Try "The Lied and Art Song Texts Page" for lieder lyrics and translations. Hunt down a good price on this collection, browsing one of Amazon's European sites if necessary, and treat yourself to many hours of lovely music for the cost of a modest night out.

Will not buy this.......2007-03-16

I can't see D965 or D945 on this 40 disks worth of Schubert. Bizarre! There are so many great songs missing it scares me.

Worth it!.......2006-12-19

One of the best in "The Masterpices" series. Many of the discs (the symphonies in particular) were licensed from Nimbus and other full-line labels. Not all that long ago these discs would have set you back $18 to $20 a piece. That said, I still wouldn't part with my Hyperion collection. 40 CD's at this price... you can't go wrong.

Great way to jumpstart a schubert collection.......2006-12-19

Hartmut Holl, Dietrich Fischer-Dieskau, Stephanie Brown, and Jaime Laredo as well as the Stuttgart Bach Collegium performing Schubert are hardly "left-behind artists and ensembles" as the previous naysayer states. These are licensed from major label releases and from the original masters issued at a bargain price, especially for the number of discs you get. Sound quality ranges from good to excellent. Good for all Schubertians and anyone who wants to jumpstart a Schubert collection.

Better to Pick a Few First-rate Performances.......2006-11-14

This is a bargain in dollar/listening time ratio, but who cares? There are many second-rate performances by left-behind artists and ensembles. Obviously the economics of resurrecting disks that don't require royalties has been the driving factor of selection. (On the other hand, the complete edition boxed sets of Bach and Mozart, which you'll find if you look, are stupendous successes artistically.)

Average customer rating:

Schubert: Octet in F D803, Op166

Manufacturer: Harmonia Mundi
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B0000007IR
Release Date: 1997-11-11

Tracks:

Octet in F: Adagio-Allegro
Octet in F: Adagio
Octet in F: Allegro Vivace
Octet in F: Andante
Octet in F: Menuetto. Allegretto
Octet in F: Andante Molto-Allegro

Average customer rating:

Franz Schubert: Chamber Music

Manufacturer: Andante
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

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Beethoven: String Quartets

ASIN: B00009PJQL
Release Date: 2003-06-03

Tracks:

Piano Trio No. 1 in B-flat Major, D.898, Op. posth. 99 31:30: I. Allegro moderato
Piano Trio No. 1 in B-flat Major, D.898, Op. posth. 99 31:30: II. Andante un poco mosso
Piano Trio No. 1 in B-flat Major, D.898, Op. posth. 99 31:30: III. Scherzo and Trio
Piano Trio No. 1 in B-flat Major, D.898, Op. posth. 99 31:30: IV. Rondo: Allegro vivace
Quintet for piano and strings in A Major, "Trout", D.667, Op. 114 34:01: I. Allegro vivace
Quintet for piano and strings in A Major, "Trout", D.667, Op. 114 34:01: II. Andante
Quintet for piano and strings in A Major, "Trout", D.667, Op. 114 34:01: III. Scherzo and Trio
Quintet for piano and strings in A Major, "Trout", D.667, Op. 114 34:01: IV. Theme and Variations
Quintet for piano and strings in A Major, "Trout", D.667, Op. 114 34:01: V. Finale: Allegro giusto

Tracks:

Fantaisie for violin and piano in C Major, D.934, Op. posth. 159 21:12: I. Andante moderato
Fantaisie for violin and piano in C Major, D.934, Op. posth. 159 21:12: II. Allegretto
Fantaisie for violin and piano in C Major, D.934, Op. posth. 159 21:12: III. Andantino
Fantaisie for violin and piano in C Major, D.934, Op. posth. 159 21:12: IV. Allegro vivace
Piano Trio No. 2 in E-flat Major, D.929, Op. 100 38:17: I. Allegro
Piano Trio No. 2 in E-flat Major, D.929, Op. 100 38:17: II. Andante con moto
Piano Trio No. 2 in E-flat Major, D.929, Op. 100 38:17: III. Scherzo and Trio
Piano Trio No. 2 in E-flat Major, D.929, Op. 100 38:17: IV. Allegro moderato

Tracks:

Violin Sonata "Grand Duo" in A Major, D.574, Op. posth. 162 19:56: I. Allegro moderato
Violin Sonata "Grand Duo" in A Major, D.574, Op. posth. 162 19:56: II. Scherzo and Trio
Violin Sonata "Grand Duo" in A Major, D.574, Op. posth. 162 19:56: III. Andantino
Violin Sonata "Grand Duo" in A Major, D.574, Op. posth. 162 19:56: IV. Allegro vivace
Quintet for 2 violins, viola and 2 cellos in C Major, D.956, Op. posth. 163 44:32: I. Allegro ma non troppo
Quintet for 2 violins, viola and 2 cellos in C Major, D.956, Op. posth. 163 44:32: II. Adagio
Quintet for 2 violins, viola and 2 cellos in C Major, D.956, Op. posth. 163 44:32: III. Scherzo and Trio
Quintet for 2 violins, viola and 2 cellos in C Major, D.956, Op. posth. 163 44:32: IV. Allegretto

Tracks:

Sonatina No. 3 in G Minor, D.408, Op. posth. 137 No. 3 12:58: I. Allegro giusto
Sonatina No. 3 in G Minor, D.408, Op. posth. 137 No. 3 12:58: II. Andante
Sonatina No. 3 in G Minor, D.408, Op. posth. 137 No. 3 12:58: III. Menuetto: Allegro vivace
Sonatina No. 3 in G Minor, D.408, Op. posth. 137 No. 3 12:58: IV. Allegro moderato
Sonatina No. 1 in D Major, D.384, Op. posth. 137 No. 1: III. Rondo (Allegro vivace only)
Octet in F Major, D.803, Op. posth. 166 47:12: I. Adagio - Allegro
Octet in F Major, D.803, Op. posth. 166 47:12: II. Adagio
Octet in F Major, D.803, Op. posth. 166 47:12: III. Allegro vivace
Octet in F Major, D.803, Op. posth. 166 47:12: IV. Andante
Octet in F Major, D.803, Op. posth. 166 47:12: V. Menuetto: Allegretto
Octet in F Major, D.803, Op. posth. 166 47:12: VI. Andante molto - Allegro

Album Description

Some of Franz Schubert's most popular scores lie in the realm of his chamber music, which the composer introduced to the world along with his songs in intimate Viennese gatherings dubbed "Schubertiades."

This newly repackaged four-CD andante anthology serves as a virtual Schubertiade, as it showcases Schubert's chamber gems via classic recordings by some of the pre-war era's greatest musicians. The performances include, among others, Fritz Kreisler and Sergei Rachmaninoff in the "Grand Duo," Adolf Busch and Rudolf Serkin in the C Major Fantasie, the Cortot/Casals/Thibaud Trio in the B-flat Major Piano Trio, and the Pro Arte Quartet with Anthony Pini in the String Quintet. The rare vintage 78s were digitally remastered by Art & Son Studio in Paris using the 24-bit "CAP 440" technique.

Tracks:

Octet in F Major, D 803 - Op. post. 166: I. Adagio - Allegro - Pi allegro
Octet in F Major, D 803 - Op. post. 166: II. Adagio
Octet in F Major, D 803 - Op. post. 166: III. Allegro vivace - Trio
Octet in F Major, D 803 - Op. post. 166: IV. Andante - Variations I-VII - Piu lento
Octet in F Major, D 803 - Op. post. 166: V. Minueto: Allegretto - Trio
Octet in F Major, D 803 - Op. post. 166: VI. Andante molto - Allegro - Andante molto - Allegro molto

Amazon.com

Schubert's sunny Octet is sort of an overstuffed version of Beethoven's popular Septet. Scored for a bountiful array of strings and winds, and sporting six full-length movements that collectively last nearly an hour, the piece is another in the great tradition of Serenade music, so effectively cultivated by Haydn, Mozart, Beethoven, and dozens of other minor composers. Beethoven's contribution to the genre, the Septet, turned out to be so much more popular than his more serious works that he grew to hate the piece. Schubert's avowed aim, by contrast, was just this sort of popularity, and he was surely pleased with his success, as he no doubt would have been by this genial performance. --David Hurwitz

Customer Reviews:

Perfection.......2006-06-21

I am not one to usually let technical flaws on the part of the players pass without a fuss. But here in this absolutely crystalline and Danube-easy performance of Schubert's Octet, I must excuse first violinist Erich Eichorn and his occasional lapses in articulation and intonation. (Even so, I must say, Eichorn does not commit as many crimes as you might think - some of his apparent intonation difficulties seem on repeated listening to be intentional effects.) Otherwise, this recording is a polished gem. The wind players are divine. They possess greater beauty of tone and ease of play than those on any other recording I have ever heard, including Oistrakh. The pacing and blend of the ensemble is unrivaled anywhere, which is the main reason I choose this recording of this piece as my favorite; I suppose playing in the same orchestra helps matters. In short, get Oistrakh or Kremer for all the correct notes, but get this recording for the "real deal" - the soul of Schubert. The other recordings might be a tad more exacting, but this one really proves that Schubert was on the road to sit beside Mozart.

don't pass this one by.......2004-06-07

this is a fine recording of schubert's famous octet. first of all the sound quality is excellent-i compared back to back with recordings on virgin classics as well as phillips and found this one far superior. i can also assure you that everyone is in tune and if you hear any sparrows close you window. thanks for reading.

Cheerful and sunny.......2004-05-16

Schubert's Octet is a cheerful, melodic and frequently lively piece of chamber music; it's one of my favourites. [And unlike some other reviewers, I didn't notice any chirping sparrows on this recording, nor was I reminded of a high school band. Perhaps that means I'm not terribly sophisticated.]

What I did notice was the difference in tempo compared to the Consort of London (Collins Classics label) recording of the Octet. The Cleveland Octet speeds up the first movement adagio - allegro (12:14 vs. 15:10) but slows down the second movement adagio (13:25 vs. 10:48). This is not necessarily a criticism, but came as a surprise after listening to the more delicate touch of the Consort of London version.

They are both good (not excellent) recordings. The choice is clearly a matter of personal taste (and I prefer the Consort of London version). BTW, Gramophone recommends the Vienna Octet performance, but I haven't heart it yet.

Addendum: Finally found the Vienna Octet CD -- it's a Decca remake of their 1958 recording. Beautiful ! Such a light touch, it simply sings! At $12 it also includes Spohr's Octet (78 minutes) which the others omit. Clearly the pick!

The birds must like this piece!!!.......2003-10-24

For the price it is okay - BUT, you can hear some sparrows chirping nearby as this was recorded.

Great Piece, Bad Performance.......2002-03-03

This is one amazing piece. However, the strings in this recording are almost always out of tune, something unexpected for members of the great Cleveland orchestra. Some of the wind playing is beautiful, but that does not make up for the general high-school orchestra sound of the ensemble.

Franz Schubert: Oktett D. 803 [Hybrid SACD]

Average customer rating:

Franz Schubert: Oktett D. 803 [Hybrid SACD]

Manufacturer: Tudor
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000063TB9
Release Date: 2005-11-08

Beethoven: Septet In E/Octet In E/Mendelssohn: Octet In E/Schubert: Ocete In F

Average customer rating:

Beethoven: Septet In E/Octet In E/Mendelssohn: Octet In E/Schubert: Ocete In F

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

Octets | Chamber Music | Classical | Styles | Music

Septets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000002SFJ
Release Date: 1997-10-14

Tracks:

I. Adagio-Allegro con brio
II. Adagio cantabile
III. Tempo di Menuetto & Trio
IV. Tema con Var (Andante)
V. Scherzo (Allegro molto e vivace) & Trio
VI. Andante con moto alla marcia-Presto
I. Allegro moderato, ma con fuoco
II. Andante
III. Scherzo (Allegro leggerissimo)
IV. Presto

Tracks:

I. Allegro
II. Andnate
III. Menuetto (Allegro)
IV. Finale (Presto)
I. Adagio-Allegro
II. Adagio
III. Scherzo (Allegro vivace) & Trio
IV. Andante
V. Menuetto (Allegretto) & Trio
VI. Andante molto-Allegro

Average customer rating:

Historical Documents For Specialists & Collectors

In Honor of Rudolf Kolisch

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Haydn: String Quartets Op 20 /Quatuor Mosaïques
Pablo Casals: Festivals at Prades Vol. 1
Shostakovich: String Quartets 1-13

ASIN: B000099T1G
Release Date: 2006-01-01

Tracks:

Kolisch Quartet - Kolisch Quartet
Mvt I Massig - Kolisch Quartet
MVT 2 Sehr Rasch - Kolisch Quartet
Mvt 3 Litanei Langsam - Kolisch Quartet
Mvt 4 Entrueckung - Kolisch Quartet
Schoenberg - Kolisch Quartet

Tracks:

Mvt I Moderato - Kolisch Quartet
Mvt 2 Adagio - Kolisch Quartet
Mvt 3 Intermezzo, Allegro Moderato - Kolisch Quartet
Mvt 4 Rondo, Molto Moderato - Kolisch Quartet
Schoenberg Speaks - Kolisch Quartet
Mvt I Allegro Molto Energico - Kolisch Quartet
Mvt 2 Comodo - Kolisch Quartet
Mvt 3 Largo - Kolisch Quartet
Mvt 4 Allegro - Kolisch Quartet

Tracks:

Mvt 1 Moderato - Pro Arte Quartet
Mvt 2 Adagio - Pro Arte Quartet
Mvt 3 Intermezzo - Pro Arte Quartet
Mvt 4 Rondo, Molto Moderato - Pro Arte Quartet
Mvt I Allegro Gioviale - Pro Arte Quartet
Mvt Andante Amoroso - Pro Arte Quartet
Mvt 3 Allegro Misterioso. Trio Estatico - Pro Arte Quartet
Mvt 4 Adagio Appassionato - Pro Arte Quartet
Mvt 5 Presto Delirando Tenebroso - Pro Arte Quartet
Mvt 6 Largo Desolato - Pro Arte Quartet

Tracks:

Mvt 1 Poco Allegro - Pro Arte Quartet
Mvt 2 Adante Grazioso - Pro Arte Quartet
Mvt 3 Finale. Allegro - Pro Arte Quartet
Kolisch Interview - Pro Arte Quartet
Mvt I Temp Di Ciaccona - Pro Arte Quartet
Mvt 2 Fuga. Risoluto, Non Troppo Vivo - Pro Arte Quartet
Mvt 3 Melodia. Adagio - Pro Arte Quartet
Mvt 4 Presto - Pro Arte Quartet

Tracks:

Mvt I Allegro - Pro Arte Quartet Of the University Of Wisconsin
Mvt 2 Adagio Molto - Pro Arte Quartet Of the University Of Wisconsin
Mvt 3 Scherzo - Pro Arte Quartet Of the University Of Wisconsin
Mvt 4 Andante - Pro Arte Quartet Of the University Of Wisconsin
Mvt 5 Finale. Allegro Vivace - Pro Arte Quartet Of the University Of Wisconsin
Schoenberg: Fantasie, Op.47 - Pro Arte Quartet Of the University Of Wisconsin
Mvt I Allegro Molto - Pro Arte Quartet Of the University Of Wisconsin
Mvt 2 Intermezzo. Andantino Grazioso - Pro Arte Quartet Of the University Of Wisconsin
Mvt 3 Andante Con Moto - Pro Arte Quartet Of the University Of Wisconsin
Mvt 4 Allegro/ Presto - Pro Arte Quartet Of the University Of Wisconsin

Tracks:

Mvt I Heftig Bewegt - Pro Arte Quartet Of the University Of Wisconsin
Mvt 2 Sehr Langsam - Pro Arte Quartet Of the University Of Wisconsin
Mvt 3 Sehr Bewegt - Pro Arte Quartet Of the University Of Wisconsin
Mvt 4 Sehr Langsam - Pro Arte Quartet Of the University Of Wisconsin
Mvt 5 in Zarter Bewegung - Pro Arte Quartet Of the University Of Wisconsin
I Massig - Pro Arte Quartet Of the University Of Wisconsin
II Leichtbewegt - Pro Arte Quartet Of the University Of Wisconsin
III Ziemlich Fliessend - Pro Arte Quartet Of the University Of Wisconsin
IV Sehr Langsam - Pro Arte Quartet Of the University Of Wisconsin
V Ausserst Langsam - Pro Arte Quartet Of the University Of Wisconsin
VI Fliessend - Pro Arte Quartet Of the University Of Wisconsin
Mvt ! Adagio - Kolisch Quartet
Mvt 2 Adagio - Kolisch Quartet
Mvt 3 Allegro - Kolisch Quartet
Mvt 4 Andante - Kolisch Quartet
Mvt 5 Menuetto - Kolisch Quartet
Mvt 6 Andante Molto- Allegro - Kolisch Quartet

Customer Reviews:

Historical Documents For Specialists & Collectors.......2005-06-17

This Music & Arts CD set (6 discs for the price of four) contains what can be rightly regarded as "urtext" performances of Schoenberg, Berg, Webern and Bartok. It is in honor of a modern music pioneer, Rudolph Kolisch (1896-1978), the Austrian violinist whose sister was married to Schoenberg. Due to an accident as a boy that cost him about half the middle finger on his left hand, Kolisch became a violinist who bowed with his left hand and played with his right. Obviously he could not play in an orchestra without inflicting damage, so Kolisch dedicated his career to chamber music, primarily of the New Vienna School.

Amazon has only displayed the musical tracks here without identifying the works. There is so much here that I can only address the contents with brief remarks. Despite extremely variable sound, there are some genuine treasures in this set. They will surely appeal to anyone who is interested in the history of performance practice and in hearing how Kolisch and his associates interpreted these works, several of which they premiered. This set comes with a 47 page booklet that includes an appreciation of Kolisch by pianist Russell Sherman (who studied with Schoenberg pupil Eduard Steuermann), an encylopedic and illuminating essay by Tully Potter on the Kolisch Quartet (and the later Pro Arte Quartet led by Kolisch), and extensive notes on the music itself, much of it written by another Schoenberg pupil (conductor Rene Leibowitz).

CDs 1 & 2 contain the first-ever 1936-37 recordings of Schoenberg's four string quartets (composed 1905, 1908, 1927 & 1936) by the Kolisch Quartet (Rudolf Kolisch, Felix Khuner, Eugen Lehner, and Benar Heifetz, with soprano Clemence Gifford in #2). Included are two brief speeches by Schoenberg. These recordings were sponsored by the wealthy film composer Alfred Newman for the purpose of preserving Schoenberg's works and Kolisch's interpretations for posterity. They were issued on private edition 78 rpm discs, and (not mentioned in the notes) they were briefly available on 4 ALCO LPs in the 1950's. I saw that extremely rare set for the first time recently in San Franciso at a collector shop that has a thriving mail-order business overseas. The asking price: $500! So if the music interests you, this M&A set is a genuine bargain! These performances have also been issued on the Swiss CD label Archiphon, but reportedly the transfers are poorly-pitched and overly-filtered.

CD 3 has 1950 recordings of Schoenberg's 3rd Quartet and Berg's Lyric Suite by the Pro Arte Quartet of the Univ. of Wisconsin (Kolisch, Rahier, Milofsky, & Fiedlander) that were once on the Dial LP label.

CD 4 features a "live" 1967 recording of the Schoenberg Violin Concerto with Kolisch and the Wisconsin Festival Orchestra conducted by Leibowitz, an 8 minute interview with Kolisch, and a 1966 live Kolisch performance of the Bartok Sonata for Solo Violin (I regard this disc as an utterly essential item). My other favorites here: Krasner/Mitropoulos (Columbia LP) in the Schoenberg, and Robert Mann's incredible Bartok (available on the internet for $17 from Bartok Records).

CD 5 has a 1945 recording of the Pro Arte Quartet playing Bartok's 5th String Quartet, a 1966 account of the Schoenberg Fantasie (Kolisch with pianist Gunnar Johansen), and the early & unnumbered (1897) Schoenberg String Quartet in D major (Pro Arte Quartet 1952). The latter work is atypical: it sounds very Brahmsian, with a dash of Dvorakian melody tossed in.

CD 6 has three 1950 Pro Arte items that were originally on Dial LPs: Webern's Five Movements for String Quartet op. 5 and Six Bagatelles for String Quartet op. 9, plus a "live" 1940 reading by the Kolisch Quartet & friends of Schubert's Octet. The latter is rather poorly-played and utterly lacks the old world charm of the wonderful Vienna Konzerthaus (Preiser CD).

My own journey to appreciating Schoenberg was a rocky climb. My piano teacher (from age 9 to age 18) regarded Schoenberg as the Devil incarnate who ruined Western music. I also studied viola for a few years with a teacher who held Schoenberg in utter contempt. And my college girlfriend's viola teacher was Robert Gross (a Hindemith pupil), and he was no Schoenberg fan either. But in 1970 I heard Lorin Maazel & the New Philharmonia (on my first visit to Carnegie Hall) perform the Op. 31 Variations for Orchestra, and I was simply astonished at the work's power & genius. In general, I find Berg & Webern easier to listen to, but Schoenberg's music in sympathetic performances is quite simply superb.

Probably the easiest place to start is with Schoenberg's tonal works like Verklarte Nacht (try Stokowski's on a Bridge CD or the original sextet version by the Hollywood Quartet on Testament), his Chamber Symphonies (#1 with Scherchen on Tahra, and #2 with Prausnitz on EMI - see my review of the latter), and Gurrelieder (my favorite is still the old Leibowitz on Preiser CD, despite rough playing & mono sound - its wonderful singers included Richard Lewis and Ethel Semser). Unfortunately, my favorite performance of the marvelous "Pierrot Lunaire" (Semser with Leibowitz) is on a long-gone Westminster LP. The piano works are also very gratifying, especially as done by Steurermann (Columbia LP), Jacobs (Nonesuch CD), and Helffer (a superb Harmonia Mundi 3-CD set that also has piano pieces by Debussy & Bartok).

While the sound of this M&A set is saddled with often noisy originals (the best-sounding items are the ones taken from Dial LPs), the performances here are revelatory. Once heard several times, the Schoenberg string quartets are very nearly as accessible as Bartok's (although the latter's are resolutely tonal, and their over-all superiority is, to my ears, partly a function of greater rhythmic drive & folk music elements). The dreamy and haunting Quartet #2 is unique for its use of a soprano voice (excellently sung here). All in all, I still prefer the greater virtuosity of the Juilliard Quartet's magnificent 1950's set (with soprano Uta Graf) on wonderful-sounding mono Columbia LPs that disgracefully remain in LP limbo. But I DEFINITELY will keep these Kolisch readings. Likewise, I still prefer the Juilliard's recordings of the Bartok Quartets from 1950 (Pearl CD - see my review) & from 1963 (out of print Columbia LPs). The Juilliard's Schoenberg & Bartok cycles strike me as the very finest modern music quartet recordings ever made.

The Berg Lyric Suite here joins the extraordinary 1936 Galimir Quartet's (coupled on a Testament CD with Louis Krasner's greatest-ever Berg Violin Concerto, with the BBC Symphony conducted by Anton Webern) and the mono RCA LP version with the Juilliard as the work's finest-ever accounts. I have never heard Schoenberg's Violin Concerto sound so ingratiatingly like Berg's concerto as it is here with Kolisch & Leibowitz (despite rather poor sound and occasional slips by Kolisch - he was age 70!). And Bartok's solo violin sonata, played with the last mvt. microtone harmonics that were edited out by Menuhin (who commissioned it) is spellbinding, despite some rough playing (it reminds me of Enesco's mesmerizing Bach recorded when he was old and suffering from arthritis). The interview with Kolisch about this last work is fascinating.

If you have difficulty in digesting the 12-tone method, as many people do, here's a simple suggestion: buy or rent the DVD of Nicholas Ray's superb film "Rebel Without A Cause," starring the short-lived James Dean. It's visually brilliant (Ray's use of the color red is downright iconic) and the music, especially in the Planetarium sequence, is utterly riveting. The film's music was composed by Leonard Rosenman (pupil of Schoenberg & Sessions), and nearly the entire score is in the manner of Berg and Schoenberg! Gorgeous recorded excerpts from Rebel & Rosenman's score for East of Eden can be heard on a Nonesuch CD (see my review). Another illuminating resource is the 2002 book "Arnold Schoenberg's Journey" by Allen Shawn (available at Amazon).

This set's old sound will likely be of limited appeal to general listeners. But for collectors & specialists in this music, what is heard here will be an enduring source of wonder and inspiration.

Highly recommended to the curious few.

Jeff Lipscomb

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