Schubert: String Quintet Op. 163

On this CD:

1. Quintet for 2 violins, viola & 2 cellos in C major, D. 956 (Op. posth. 163)
Composed by Franz Schubert
Performed by Natalia Gutman, Oleg Kagan, Gerard Korsten, Richard Lester, Diemut Poppen

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

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!

Schubert: The Late String Quartets; String Quintet

Average customer rating:

FULL APPRECIATION

Schubert: The Late String Quartets; String Quintet

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001ZWGI8
Release Date: 2004-06-15

Customer Reviews:

FULL APPRECIATION.......2007-03-20

Until this bargain priced recording on three discs of the Emerson Quartet playing Schubert`s last four string quartets (included also is the String Quintet in C major, D956 featuring Rostropovich on cello), down through the years, I really did not have too much of an appreciation for Schubert's Quartets # 12, 13, 14, 15. For some reason their beauty eluded me. Now, with this recording, I love the works especially the #15 in G major. It is indeed filled with drama, pathos and great beauty. I don't think I can blame this "new found" appreciation on any maturation on my part. I really believe, it's soley due to the exquisite playing of the Emerson Quartet. They really play these works not like they are "walking on eggshells" but with vigor, passion and beauty. Also, I'm sure, that the wonderful recorded sound helped in my appreciation too.

I plan on seeking out more Schubert performed by the Emerson Quartet--they are so very good!!

Average customer rating:

Unmatched excellence
Wow!
Big names thrown together.
YUM!
Must be heard

Franz Schubert: Quintet/Symphony No.5

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Encores
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Schubert - String Quintet in C / Alban Berg Quartet · Schiff

ASIN: B0000029LC
Release Date: 1994-02-22

Tracks:

Quintet in C Major, Op. 163, D - 956: Allegro ma non troppo
Quintet in C Major, Op. 163, D - 956: Adagio
Quintet in C Major, Op. 163, D - 956: Scherzo - Presto
Quintet in C Major, Op. 163, D - 956: Allegretto
Symphony No. 5 in B-flat Major, D - 485: Allegro
Symphony No. 5 in B - flat Major, D - 485: Andante con moto
Symphony No. 5 in B - flat Major, D - 485: Menuetto - Allegro Molto
Symphony No. 5 in B - flat Major, D - 485: Allegro vivace

Customer Reviews:

Unmatched excellence.......2006-07-16

I became familiar with this extraordinary piece of music--very possibly the single best work ever written for a string quintet--when I was 12 or so, and have loved it ever since.

While my introduction came through a live performance, I was soon listening to this very recording (by Columbia Masterworks) of the Casals Festival at Prades in July 1952 given by Isaac Stern, Alexander Schneider, Milton Katims, the incomparable Pablo Casals and Paul Tortelier.

Of course that recording, on a 32 rpm phonograph, is still in my collection. But it is so well-used that I am unsure whether the grooves are still in tact. Furthermore, I haven't heard this performance for years, given the obsolesence of 32 LPs.

I was overjoyed recently to find the recording on CD, which I thought simply wasn't available.

Now, I own three recordings of this Schubert quintet, including my original LP and this CD. (The third, also on CD, is a recording of Yo Yo Ma.)

There is no doubt about it. Casals in 1952 gave an extraordinary delivery of this extraordinary work.

If you like chamber music, strong quintets, and Schubert, you owe yourself the pleasure of owning this amazing CD. Mono schmono. The sound these artists produced exceeds the quality of any other version of this piece I've ever heard.

And that's saying something.

Wow!.......2006-07-01

There are few chamber recordings that can touch this extraordinary work. This is one that I just cannot recommend highly enough. Casals was a cellist of profound sensitivity and supreme talent who enjoyed a deep understanding of Schubert's poetic music and with this, perhaps one of the most treasured of all of Schubert's chamber works, his pure, joyful affection is obvious.

One reviewer has mentioned that some of the playing is a little scrappy in parts - perhaps so, but this is more than made up for in the musicians' emotional investment and the very special rapport they clearly have with each other.

While the Quintet is really the highlight of the CD, the exuberant and youthful performance of the 5th Symphony is well worth a listen. Under Casals' direction, the music is full of all the energy and optimism that Schubert invested when he composed it at the tender age of nineteen! This is in deliberate contrast to the Quintet which was completed only about a month before his premature death at the age of 32 and is a far more introverted, soul-searching piece of work. Listening to this you feel he must have been aware of his approaching end and this music is his way of coming to terms with its inevitability. Stretches of exquisite calm are followed by bursts of heartfelt anguish and questioning (note particularly the sublime second movement). The quintet was composed roughly around the same time that Beethoven was writing his monumental late string quartets, and though the quintet arguably does not share the majestic breadth and scale of those mighty works, there is a similar sense of intimacy, as though we are eavesdropping on the innermost thoughts of a genius as he grapples with the terrible mystery of death and notions of God. In fact, whether you believe in God or not, this, like Beethoven's late quartets, comes pretty damn close to the idea.

Bear in mind this is a mono recording from 1952, but even so, the sheer emotional power of the playing, and of the music itself, makes any such consideration pointless. You will not be able to listen to it enough.

Quite rightly, this is one of the most celebrated and best loved chamber music recordings of all time, not just of Schubert's, but of any composer's music. If you do not already have this in your collection, don't even think about it. Buy it.

Big names thrown together........2003-07-16

This is a recording of the Schubert quintet played by big name musicians like Casals, and Sasha Schneider. It has gotten very good reviews too. Unfortunately I don't find the playing that golden, particularly in the ensemble of the music which is quite rough and tumble. These musicians are like a pick-up group, and they haven't played together all that much. So they are cautious, adjusting to each other as the music unfolds. I think there are much better Schubert quintets elsewhere, for example, the Hollywood quartet with Alvin Dinkin, or the Emerson quartet with Rostropovich. Just to name two.

This CD deserves 3 and a half stars. But there's no such thing. So I gave it 4 stars.

YUM!.......2002-02-21

Pablo Casals shines in this Shubert Quintet!
Try 'Allegreto' first to clean your ears; the recording is so so (I believe it was recorded in 1953), mono and a little thick- like a telephone bandpass-, but the emotion is still intact.

I tried several other versions of the same piece, but did not find the coherence and ensemble this interpretation demonstrates. A must have (buy it two times in case you loose one!).

Must be heard.......2001-09-25

The Schubert quintet has always been one of my favorite pieces of music and this particular performance is, without a doubt in my mind, one of the greatest chamber music recordings ever.
All five performers were lengendary soloists in their day and yet they play so well together--as if all their lives had been spent playing chamber music with one another.

Average customer rating:

Good, not great...

Choral Adagios

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0002L2ZV4
Release Date: 2004-09-14

Tracks:

Adagio - London Voices, Terry Edwards
Ave Verum Corpus, K618 - The Choir Of King's College - Oxford, Edward Higginbottom
Ave Maria - Choir Of New College - Oxford, Edward Higginbottom
Pavane, Op.50 - Cheur De L'Orchestre Symphonique De Montreal, Iwan Edwards
Panis Angelicus - James Vivian
Orchestral Suite No.3 In D Major, BWV 1068 - London Voices, Terry Edwards
The Blue Bird - Choir Of New College - Oxford, Edward Higginbottom
Concierto De Aranjuez Adagio - London Voices, Terry Edwards
Easter Hymn - London Opera Chorus, Terry Edwards
Pavane Pour Une Infante Defunte - London Voices, Terry Edwards
O Salutaris Hostia - Choir Of New College - Oxford, Edward Higginbottom
Simple Gifts - Mormon Tabernacle Choir, Jerold Ottley
Song For Athene - The Choir Of King's College - Cambridge, Stephen Cleobury
Humming Chorus - Wiener Staatsopernchor, Norbert Balatsch
Miserere - The Choir Of King's College - Cambridge, Stephen Cleobury

Tracks:

Jesu, Joy Of Man's Desiring - Peter White
Crux Fidelis (After Ombra Mai Fu) - Choir Of New College - Oxford, Edward Higginbottom
What Sweeter Music - Choir Of New College - Oxford, Edward Higginbottom
Adagio - London Voices, Terry Edwards
Shenandoah - Mormon Tabernacle Choir, Jerold Ottley
In Paradisum - Choeur De L'orchestre Symphonique De Montreal, Iwan Edwards
Notturno: Andante - Christopher van Kampen
Andantino Semplice - London Voices, Terry Edwards
Blessed Is The Man (All Night Vigil, Op. 37) - Choir Of New College - Oxford, Edward Higginbottom
Allegretto - London Voices, Terry Edwards
Andante - London Voices, Terry Edwards
Cantique De Jean Racine - Stephen Cleobury
Te Lucis Ante Terminum - Helen Turnstall
Wir Setzen Uns Mit Tranen Nieder - Hymnus-Chorknaben Stuttgart, Gerald Wilhelm

Customer Reviews:

Good, not great..........2007-01-03

It is a cut and paste job, and the overall result reflects that. Some of the pieces are rather good. Some are works that are not choral works, and do not lend themselves well to being morphed into a choral piece.

If you are looking for a musical experience, then pass on this one. If you are looking for pleasant music in the background that no one really listens too...then you may want to consider.

Franz Schubert: String Quartets D 804 "Rosamunde", D 810 "Death and the Maiden", D 887, D 703 and String Quintet D 956

Average customer rating:

SO MUCH THAT I WANT EVEN MORE
Schubert's late chamber masterpieces
Awesome music, interesting performance
Schubert + Emerson = Listener Satisfaction
Good but not Best

Franz Schubert: String Quartets D 804 "Rosamunde", D 810 "Death and the Maiden", D 887, D 703 and String Quintet D 956
Franz Schubert , Emerson String Quartet , and Mstislav Rostropovich
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Intimate Voices

ASIN: B00000I0L8
Release Date: 1999-02-09

Tracks:

String Quartet In A Minor, D 804, Op. 29: Allegro ma non troppo
String Quartet In A Minor, D 804, Op. 29: 2. Andante
String Quartet In A Minor, D 804, Op. 29: 3. Menuetto. Allegretto - Trio
String Quartet In A Minor, D 804, Op. 29: 4. Allegro moderato
String Quartet In D Minor, D 810 'Death And The Maiden': 1. Allegro
String Quartet In D Minor, D 810 'Death And The Maiden': 2. Andante con moto
String Quartet In D Minor, D 810 'Death And The Maiden': 3. Scherzo. Allegro molto - Trio
String Quartet In D Minor, D 810 'Death And The Maiden': 4. Presto

Tracks:

String Quartet In G Major, D 887: 1. Allegro molto moderato
String Quartet In G Major, D 887: 2. Andante un poco mosso
String Quartet In G Major, D 887: 3. Scherzo. Allegro vivace - Trio. Allegretto
String Quartet In G Major, D 887: 4. Allegro assai
Quartet Movement In C Minor, D 703: 5. Allegro assai
Quartet Movement In C Minor, D 703: 6. Andante (fragment)

Tracks:

String Quintet In C Major, D 956: 1. Allegro ma non troppo - Franz Schubert
String Quintet In C Major, D 956: 2. Adagio - Franz Schubert
String Quintet In C Major, D 956: 3. Scherzo, Presto - Trio, Andante sostenuto - Franz Schubert
String Quintet In C Major, D 956: 4. Allegretto - Franz Schubert

Customer Reviews:

SO MUCH THAT I WANT EVEN MORE.......2007-05-24

To say the least, nobody purchasing this set is likely to regret it. Just at the pedestrian level of value-for-quantity the value is brilliant, and at the artistic level it is more brilliant still. The professionalism and technical proficiency of the Emerson group probably needs little highlighting by now, but these players are musicians first and foremost. Apart from perfect intonation and ultra-perfect ensemble they have added variety to their unfailing beauty of sound. The start of the G major quartet, which can sometimes be a bit of an assault on the ears, is done ideally, with the exploding chords sonorous and majestic. At the other end of the volume-scale there is a wonderful breathless hush near the end of the variations in the D minor, and in this same quartet I don't think I ever heard the enchanting second subject of the first movement phrased so beautifully.

How do they relate to Schubert? For me, Schubert is a composer apart. All his compositions are early works, and in the five pieces comprised in this set I sense a steady advance in certainty and consistency. By the time of the quintet he is fully inside his own individual style, but at every stage of his development there are sequences in which someone or something beyond the merely human seems to be speaking or singing, using him as a mouthpiece, and it taxes even the greatest of his exponents to detect and express these. They are not a matter of one specific idiom, but of several, and the better the interpreters handle such passages the more I find myself longing for some ideal that I refuse to consider unreachable, because I have always heard it reached by someone at some time. One issue is represented by the second subject in the G major's first movement. When this comes round for the second time, in the recapitulation with new counterpoint, the Emersons are perfect for me. However at its first appearance this theme, with its muttering self-repetitions, has a somnambulistic air to it that the Novak quartet on my old LP capture ideally for me, and I wonder whether the Emersons are just a little bright-eyed and clean-limbed. The sense of that grew on me as the set progressed. The great melody from the first movement of the quintet (with Rostropovich on the second cello) suits me fine as they do it, but in the trio of the G major's scherzo while they sing the melody like angels what I want is not people like angels but the angels themselves. I have heard them in this movement before. In a different mode of expression there is the G major's last movement. Schubert produced a similar finale to his late C minor piano sonata, and I would have been more than satisfied with the Emersons here, particularly with the magnificent tone at the end, if I did not know Ogdon's performance of the sonata movement, one of the greatest interpretations I ever heard, with the whole huge piece seemingly taken in a single breath.

The very first and the very last things on this set are especially testing for interpreters of Schubert. The last movement in the quintet, a piece in a very special Schubertian idiom, is my idea of unqualified perfection here. The speed is not too fast, the variations in pace are superbly judged, there is the right sense of a heavy and almost dragging undertow to the rhythm in the accompaniment, and the phrasing of the second theme is something to live for. The set starts with the A minor quartet, and here I held my breath, because with that opening theme we are communing with something not of this world. Verdi, so immune in general to German influence and so gifted with melody himself, explicitly takes off his hat to it at the start of his Requiem. The balance of the melody against the hypnotic wavy accompaniment is perfect here, so is it my absolute ideal? It's somewhere near it at least.

Only one movement out of the whole eighteen seems to me not quite right. The last movement of the D minor is a little fast for my liking, but I could live with that. However the Emersons' fast tempo really does seem symptomatic of a sense that they have missed a deeper tone to the movement, and I felt that in the cadence-theme to the exposition and recapitulation in particular. My thoughts reverted to how this is done by the Gabrieli Quartet on my beloved old LP, with the impression of an apparition of the four horsemen of somewhere that makes me catch my breath to this day. On the other hand, for many people the high spot of such a set is likely to be the slow movement of the quintet, and I can report a reading to rank with the finest here, time held in abeyance as it should be and the control of the sustained long notes perfect beyond perfection.

The set dates from as long ago as 1988, I see, and I wonder how these divinely gifted artists do these pieces nearly twenty years on. The recording is excellent, an absolute necessity for playing like this. The liner notes are also good, except for the one on the quintet, and I seem not to have mentioned so far that we are given the outstandingly lovely fragment of the intended slow movement to the Quartettsatz. Altogether, an outstanding issue in nearly every way. I am reminded of Schubert's epitaph `A rich treasure and still fairer hopes'. These players are young enough to do these quartets again, as they are to do Beethoven's again, and I hope I am still young enough to hear how they do them.

Schubert's late chamber masterpieces.......2005-10-29

The strong points of this 3-CD set are: (1) the immeasurably rich compositions from Schubert, (2) the excellent coupling of the last four quartets with the quintet, (3) the above-average Emerson Quartet performance and (4) the superb value from DG. If you are not familiar with Schubert's chamber works, these four quartets and string quintet are very late masterpieces and some of Schubert's most intricate, mature and monumental compositions. These, along with Schubert's late piano sonatas, reveal glimpses into his deep struggles and pain (through the explosive, dissonant outbursts) but also tender moments of joy and repose as well. It seemed in his final year or two that he was emerging into a consumate maturity as a composer - which tragically was cut short by his early death (supposedly due to complications from Syphilis). The quintet is especially magnificant with each movement being as towering as the next.

There is no arguing that the Emerson Quartet stands among the finest current quartets around. Whether you gravitate to their particular style and sound is quite a personal matter. Certainly, the Emersons get strong accolades for their late Beethoven and recordings of more modern (and 'edgy') composers. In such bold, purcussive and chromatic music they seem to excel and find their greatest expression. Schubert - while 'edgy' in his own way in these late chamber works - still composed in the somewhat-restrained Vienesse tradition (being born and bread in Vienna himself) although parallels to Beethoven are abundent in the music here. Consequently, Schubert's chamber music has still a strong classical flavor and typical Schubertian lyricism. Like another reviewer mentioned, the Emerson Quartet's style is a bit more "direct" and "sharp" in terms of phrasing, articulations and tonality somewhat. Some call their style "A Manhattan style" - I guess suggesting the directness that people from Manhattan are known for (no offense to New Yorkers).

Regardless, the Emerson's style becomes more apparent when comparing with European quartets like the Alban Berg, the Quartetto Italiano and the Quatuor Mosaiques - all of which perform this music with what is often described as a more traditional "Old World Austrian style" (particular the Alban Berg Quartet who hails from Austria). So, while the Emerson's put forth dramatic, precise and interesting readings here, I think at times they "attack" the music too aggressively for its intent and period in history. Schubert was first and foremost a master of melody and lyricism - which does not go away even in his most dissonant and explosive momements. There just seems - at times - an overly-direct expressiveness and tempos that are driven a bit too quickly from the Emersons and a lack of the needed elegance and lyrical smoothness of Schubert's music when called for. But, such things are nuance and not a matter of right or wrong really. However, this quartet dynamic brings out the needed emotive effect in pieces like the potent G-major scherzo movement or the electifying Quartetsalz. Ditto that as well for the great quintet in C major - which a live recording with the legendary cellist, Rostropovich. So, the Emerson's playing here on the whole is impeccably precise and consumately professional so it is more a question whether you like their style nuances as compared to others.

Part of this above conclusion may be colored in part by the sound quality here on DG, which I found to be deficient in tone richness and resonant depth. It just sounds stark and dry - lacking the resonant, harmonic fullness and proper sound stage that allow music to "breath" more and sound more expansive and dramatic. But on the positive side, the instrument balance is great and the sound is full in volume and not "hissy" with a close-miked ambiance allowing clear differentiation of instruments if you like that kind of sound.

The Quartets who to me best capture these most complex and emotive quartets most fully are the (1) Alban Berg (quartets and especially the quintet), (2) the Quatuor Mosaiques (who play a most expressively and nuanced Rosamunde) and (3) the Quartetto Italiano (all quartets, especially the G major quartet which is truly staturesque in its harmonic depths). And for the great quintet, the Marlboro Festival recording (Sony) is highly recommended for its spirited live performance, along with the Alban Berg's "Great Recording of the Century" on EMI.

This DG 3-CD set is a fine recording and value - I just don't think it is the music in which this top quartet shines the brightest. I think the others listed above represent Schubert on a higher plane of excellence and more idiomatic to the composition. But, this DG coupling of the last four great quartets plus the monumental string quintet is fairly unique and priced to be the best value out there. Either way, what is most important is to explore these most wonderful chamber masterpieces.

Awesome music, interesting performance.......2004-07-22

These five compositions--Schubert?s last quartets and nearly his last work, the string quintet--have got to be one of the most underappreciated achievements in the history of artistic endeavor. Who else ever captured such an incredible spectrum of emotions in such exquisite poetry, without Romantic excess? Only Shakespeare comes to mind.

The Emerson performances of the quartets are extremely interesting?very high on the drama, maybe not so high on the poetry. There is immense energy and passion, the usual Emerson technical excellence, but not warmth exactly. Someone reviewing the Berg Quartet?s version of D.887 said he hasn?t gone back to Emerson after hearing ABQ (?honey has replaced the razor blades?). I feel like I couldn?t go back to ABQ after Emerson. The way the Emerson four do the first movement of D.887?I just get a lump in my throat and a little shiver down my spine every time I hear it. If the music can be played this way, why wimp out? I guess I?ll take the razor blades?.

The performance of the quintet with Rostropovich is of a different order: brilliant AND warm. I suggest checking out the reviews of the separately issued CD. This is music-making of a very high order indeed. If the set was the only way to get this performance of the quintet, I?d recommend buying the set. With the quality of the other performances, a fantastic deal.

Schubert + Emerson = Listener Satisfaction.......2002-02-23

First, these quartets are some of the best written to date so if you've not heard them, you should. Second, This is a great set to start with.
From the subtle first movement of Rosemunde, to the confused fury of Death and the Maiden, Emerson's interpretations are immense and multi-dimensional, constantly engaging the listener to jump further into the music. Not bad for a thirty some-odd dollar CD set.
The shining moment is the Quartettsatz. Already (in my opinion) THE BEST nine minutes of chamber music ever, Emerson adds to its appeal taking a bold flirty approach with it; Like a good crime novel, building an undeniable forward motion. It's so sad when after two minutes, the second movement cuts off. If the reader has no idea what I'm talking about, take my word. It will effect you.
The reason for the subtracted star is that, although Emersons in-your-face approach works well for the fast, bold movements, they can not fully shake it in the slower movements, where it sounds clumsey and innapropriate. The second movement in Rosamunde and D 703 could've done with more delicate treatment. For experienced Schubert listeners, Emerson adds a refreshing twist to these quartets. For the beginner, this is an exciting starting point.

Good but not Best.......2000-12-12

Unless you are in a hurry or care about the modern, digital sound, wait for Sony to release the Budapest Quartet version of these quartets on CD. That is the version to have; its absence from CD is one of the great gaps in the catalog.

Schubert: Quintet in C D. 956; The Shepherd on the Rock

Average customer rating:

Schubert: Quintet in C and Shepherd on the Rock
A bit timid in the Quintet but unsurpassed in 'Shepherd on the Rock'
Still as Lovely a Recording of these Schubert Jewels as any
A Schubert masterpiece
Schubert of surpassing beauty

Schubert: Quintet in C D. 956; The Shepherd on the Rock
Felix Galimir , Julia Lichten , Yo-Yo Ma , Steven Tenenbom , Peter Wiley , Benita Valente , Harold Wright , and Rudolf Serkin
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000270P
Release Date: 1990-05-03

Tracks:

Quintet In C Major, D. 956: I Allegro ma non troppo
Quintet In C Major, D. 956: II Adagio
Quintet In C Major, D. 956: III Scherzo: Presto - Trio: Andante sostenuto
Quintet In C Major, D. 956: IV Allegretto
Der Hirt Auf Dem Flesem, D. 965 (The Shepherd On The Rock)

Customer Reviews:

Schubert: Quintet in C and Shepherd on the Rock.......2007-02-19

This is an excellent recording. Of course, both are wonderful pieces of music. Shepherd on the Rock is a beautiful song - probably the last that Schubert wrote before his death. It was written especially for a friend to sing. It has a lot of drama, and those lovely melodies that just flowed out of Schubert. I highly recommend this CD.

A bit timid in the Quintet but unsurpassed in 'Shepherd on the Rock'.......2006-01-09

By 1986 the Marlboro Festival had acquired up-to-date recording equipment, so this live Schubert Quintet in C sounds very good, the strings natural and sweet, the balance perfect. (I am going on faith with an earlier reviewer, since the jacket notes don't say that this is a live performance.) The group is led by old hand Felix Galimir and a young Pamela Frank on violin. This is a sensitive reading, but there are many places where it's a bit timid and foursquare. The Quintet in C responds to the greatest emotional depth one can give, and here the performers take no risks, unlike the classic Prades Festival recording, also on Sony, with an impassioned Pablo Casals. Three stars.

The coupling, from twenty years earlier, is Schubert's sublime Der Hirt auf dem Felsen (which, if translated literally, means something comical: Shepherd on the Rocks). Benita Valente sings with rapturous ease, inspired by Rudolf Serkin's piano and the clarinet obligatto of Harold Wright, the best American clarinetist of his generation. A treasurable performance. Five stars.

Still as Lovely a Recording of these Schubert Jewels as any.......2005-04-03

Though recorded in 1986 at a live performance at the Marlboro Festival where outdoor ambience can either enhance or detract from 'pure music', this elegant recording of The Schubert Quintet in C major coupled with 'The Shepherd on the Rock' is right up there with the best of them. The quintet is especially sensitively played and the recorded sound, while a bit forward, still encourages appreciation of the communication among the five string performers.

"The Shepherd on the Rock" is a favorite work, loved by chamber musicians. Written for voice, piano and clarinet - each of equal importance - it is a lovely mood piece. The performers here are the inimitable Rudolf Serkin playing with his usual refinement, Harold Wright providing the clarinet obbligato, and the rare opportunity to hear Benite Valente in top form, sailing through Schubert's lines and high tessitura with seemingly no effort.

If you are looking for the most open and tender 'Shepherd' available, look no further. A very fine recording of an important music festival that celebrated some of our best musicians. Grady Harp, April 05

A Schubert masterpiece .......2005-03-31

Many consider Schubert's String Quintet one of THE pinnacle masterpieces in the entire chamber repertoire. With its many and diverse emotional moods, memorable lyrical themes, dense textures, and its tonal richness from 5 strings (w/ two cellos), the quintet is clearly a masterpiece. Much of Schubert's chamber and leider music flowed from small, festive gatherings with his musical friends ("Schubertiades") and that kind of intimate spirit is captured in this festive, live performance. This recording can compete with the best in terms of sound and performance and is quite lively and vivid - partly from the dynamic of a live performance. You can clearly feel this energy and a sense of spontaneous music-making in the highly-spirited last two movements of the quintet. Lead violinist Pamela Frank brings a gorgeous tone and technique to these works - albiet one more focused on the moment than on clinical perfection in a studio. While not the highest-profile violinist around, Ms. Frank brings a refined technique and much artistry to the music she plays (her Beethoven violin sonatas being one fine example).

For those not familiar with the Marlboro Festival ... no, it was not an event sponsored by the cigarette company but was an annual summer gathering for decades in rural Marlboro, Vermont of some of the best veteran and budding talents (like Ma, Perahia) headed by the legendary pianist and teacher, Rudolf Serkin. The quintet was recorded in 1986 while the song in 1960 which is quite lovely here. With minimal agenda and pressure in a lovely retreat setting, these musician followed their deepest musical inclinations, honed their talents among legends and often came up with memorable performances such as this Schubert quintet. Compare the clips to others and you can sense how good it is.

As much as I admire the polished (studio) version of the Quintet from the Alban Berg Quartet, I must say I like this version even more for its live dynamic and the way the background strings create a greater sense of drama in the final movement by sustaining their harmony passages versus a more stacatto effect as most others do. Plus, the Marlboro group gives the first movement its due drama by retaining the often-omitted repeat. Another strong performance comes from the Emerson Quartet on DG if you like their bolder manner of playing. The second song piece on this CD (with piano, clarinet accompanyment) is most lovely and sensitively played/sung. I am not familiar with Schubert's songs, but it seems the gently-meandering and melodic performance here captures what he must have had in mind. From such songs with their natural spontaneity and lyricism, you can appreciate why Schubert was one of the finest and prolific composers in the leider genre. 4.5 stars.

Note: while the Amazon text lists Yo Yo Ma as one of the two cellists, it is not the case (Wiley, Lichten).

Schubert of surpassing beauty.......2001-07-02

Though this is indeed an unusual combination, I don't agree with the previous reviewer -- there is absolutely no reason to give this wonderful CD less than 5 stars. In fact, if I could, I'd give it more! Both pieces, I must admit neither of which was I familiar with before this, are exquisite jewels of Schubertian melody and beautiful, unexpected harmonic turns. The quintet is played with much love and devotion by the Marlboro crew assembled, and what can one say about the other piece -- "The Shepherd On The Rock"? The legendary Rudolf Serkin is at the piano (a better chamber player never existed), the brilliant Harold Wright is on clarinet, and the beguiling, bewitching soprano Benita Valente is at peak form here -- such purity of tone and lovely, delicate phrasing! This piece was recorded in the late 50's, but not to worry -- the sonics are just fine. This was truly a find. Personal note: this was recommended to me by the great Rudolf Serkin's grandson -- how could I resist? I'm glad to report that he certainly didn't let me down!

Schubert: String Quintet In C Major, D. 956

Average customer rating:

Highly Recommend
Incredible
Schubert from Melos, Rostropovich, Shines Brightly

Schubert: String Quintet In C Major, D. 956
Peter Buck , Mstislav Rostropovich , Gerhard Voss , Hermann Voss , and Melos Quartett
Manufacturer: Polygram Int'l
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

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Schubert - String Quintet in C / Alban Berg Quartet · Schiff

ASIN: B000001G6G
Release Date: 1989-10-09

Tracks:

String Quintet In C Major: Allegro ma non troppo
String Quintet In C Major: Adagio
String Quintet In C Major: Scherzo. Presto - Trio. Andante sostenuto
String Quintet In C Major: Allegretto

Amazon.com

It would be difficult to imagine a finer account of this extraordinary work than that of the Melos Quartet and their distinguished guest. The flow of the music is magnificently sustained, its color and inner life marvelously felt. There is a spontaneity to the playing that perfectly complements the profound whimsicality of Schubert's journeys to remote tonal regions, along with a sensitivity ideally suited to the meditative quality of the composer's lyricism. The recording is warm and spacious, richly nuanced, and admirably balanced. --Ted Libbey

Customer Reviews:

Highly Recommend.......2007-02-08

I love this piece. Although I haven't heard many recordings of it, I can guarantee that this must be among the best. I fell in love with it as soon as I heard it. The playing is wonderful. The group is very tight and dramatic in all the right spots. I would highly recommend this cd. It is a little pricey, so it may be worth looking around for other copies, but if you don't mind paying the $24.00 I assure you that you won't be disappointed.

Incredible.......2003-08-03

I am a cellist and had to play this for a summer camp. I ended up with four different quartets versions of this piece. We all know how differently the same piece can sound right? This version by the Melos quartett was my favorite. Their interpretation of Schubert's music was beautiful. The nuances they created and their phrasing enhanced what was written by Schubert. You will not be disappointed with this CD.

Schubert from Melos, Rostropovich, Shines Brightly.......2000-03-06

The edition of this recording in my possession is from the European set "Schubert Meisterwerke" which was availbale for a short time in the US. This particular recording is among the most soulful of the Schubert C Major Quintet. Most notable is probably the second movement, Adagio, with potent first violin and first 'cello lines that sing over the mezza voce accompaniment. Rostropovich is rather well known for taking this movement slower than comfortable for many players, but I think this adds a great deal to the recording as the movement is beautiful but restless at points. The Melos will not let you merely settle passively into this movement, but will pull and push you along with it. The Scherzo is an amazing contrast in that it is practically all push -- pushing ahead that is -- until the more lyrical trio. This work is difficult to navigate, with numerous voice changes, parallels and tempi that refuse to quite settle, but it is difficult to find a better recording than this.

Schubert - String Quintet in C / Alban Berg Quartet · Schiff

Average customer rating:

A highly polished reading
Best Rendition of Favourite Piece
The best...very Viennese...very Schubert
I expecteded more from the Berg Quartett --- 3 1/2 stars
C Major String Quintet

Schubert - String Quintet in C / Alban Berg Quartet · Schiff
Franz Schubert , Alban Berg Quartett , Heinrich Schiff , Günther Pichler , Thomas Kakuska , and Gerhard Schulz
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Quintets | Chamber Music | Classical | Styles | Music

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ASIN: B00000I7WA
Release Date: 1999-03-09

Tracks:

I: Allegro Ma Non Troppo
II: Adagio
III: Scherzo (Presto) & Trio (Andante Sostenuto)
IV: Allegretto

Amazon.com

This is an impressive reading of the quintet, notable for its energy and lyrical beauty, and cellist Heinrich Schiff certainly throws the considerable weight of his tone behind the fine, blended sound of the Alban Berg Quartet. The original 1982 recording was first-rate, and EMI's engineers have done a superb job of capturing its ambience and warm tone on this remastering in the Great Recordings of the Century series. The only drawback is that the players omit the exposition repeat in the quintet's first movement, depriving it of the "heavenly length" it should have. --Ted Libbey

Customer Reviews:

A highly polished reading.......2005-06-17

Many consider Schubert's String Quintet D956 one of the pinnacle masterpieces in the entire chamber repertoire. With its diverse emotional moods, memorable lyrical themes, and dense, rich textures from the added cello, Schubert's only string quintet is clearly a masterpiece. The Austrian Alban Berg quartet gives a plush, poised reading of this great work, worthy of a "Great Performance" accolade. Their style and sound is often described as "polished" which can be clearly heard in this recording or in their wonderful performances of Mozart's final great quartets (4-CD set on Teldec). Their precise, silky and tonally rich playing combined with very good sound quality all make for a strong choice - although the 46 minutes is a bit chinsy for one CD. Other fine performances of this great quintet to consider: the bold reading from the Emerson String Quartet with Rostropovich (DG 3-CD set with the last string quartets) or the live, spirited recording from Pamela Frank and the Marlboro Festival players (Sony).

Best Rendition of Favourite Piece.......2005-01-01

Whilst a pianist, Schubert's Quintet in C just strikes a chord with me that other music of a solo or orchestral nature simple doesn't. As such I have several recordings of this piece. This was the first one I acquired and from the tentative opening note to the swagger and aplomb of the finale it will draw you in and leave you wishing for more yet realising that more simply isn't humanly possible.

For this recording specifically the first two movements stand out - in spite of the missing repeat in the first. It is not for me to question Schubert's genius but I feel that performances of the first movements of both the Quintet and the D minor Quartet D810 'Death and the Maiden' do not lose anything from the ommission of their exposition repeats and if anything gain a feeling of progression and cohesion (particulary in D810).

There isn't a single phrase or note which feels at all out of place here - such attention to detail for a peace as long and with so many subtley repeated notes is remarkable.

The third and fourth movements whilst not nearly as substantial as the first two are played to perfection. The scherzo has power and an unrivalled intensity of conviction. The proceeding trio is reflective and brooding - the repeated chords leading to the recapitulation are fantastic and never cease to heighten the tension no matter how well I know exactly what is around the corner. The final movement is approached as one critic put it "with just the right balance of swagger and reserve" - although there is one tiny mistake which I only recently picked up at around 2"09 (How's that for pedantry!).

The sound quality is excellent and - as should be the case - won't be a consideration unless you purposely set out to analyse it.

Simply unrivalled.

Not however unchallenged at a very high level and I would also reccommend the Lindsays mid 80's version - unimpeachable sound and marvellous control across the dynamic spectrum: comes packaged with the late quartets; D810 is sublime but that's another story.

The best...very Viennese...very Schubert.......2004-10-12

Although many American concert-goers and players prefer the Emerson with Rostro, after listening to the Berg, I still prefer it. There is more idiomatic playing, with the right amount of rubato. It just seems "right". If you've played the quintet yourself, you'll really appreciate how they get the Viennese sound just right. They're Viennese after all, they should. The intonation and ensemble is just as good as the Emersons. The omission of the exposition repeat is a minor quibble. Go to a concert and I bet they don't include the repeat. If you want to hear more Schubert, hit the repeat button or listen to "Death and the Maiden".

This is the one to get.

I expecteded more from the Berg Quartett --- 3 1/2 stars.......2003-12-18

This is by no means a bad performance, and I do not intend it as a bad review. The 3 1/2 stars is a relative rating, taking into consideration the other excellent recordings the Berg Quartett has produced. Judged on its own merits, this would be in the top ten versions of the Schubert Quintet I have heard.

The problem is that I have been spoiled by the Bergs' top-notch recordings of the Beethoven Quartets. I have also heard live performances of the Schubert Quintet which far exceed the level of playing heard on this CD. I guess I came to this CD with expectations that were too high, but I cannot help but be influenced by the Berg Quartett's high standards of musicianship, and this recording left me feeling somewhat disappointed. Again, this is not a bad performance, but I would recommend the Emerson Quartet's version before I would recommend this one.

C Major String Quintet.......2003-06-09

I have listened to this CD many times since its introduction and continue to like it for its tight and disciplined ensemble playing; at the same time it remains warm and imparts that characteristic Schubert romanticism.

Tracks:

I. Allegro Ma Non Troppo
II. Adagio
III. Scherzo. Presto - Trio. Andante Sostenuto
IV. Allegretto
I. Andantino Mosso (Amoroso)
II. (Allegro Con Spirito)
III. Minuetto (Con Un Poco Di Moto)
IV. Rondo. Allegretto (Andante)

Customer Reviews:

A third generation of greatness in chamber music.......2005-12-31

In whatever its incarnation--Coluumbia Records, CBS, Sony, and now BMG Sony--this company has been the mainstay of American chamber music performance. Isaac Stern was part of the first generation of musicians centered around Pablo Casals in the Fifties (he was first violin in a classic Schubert C Major Quintet from 1952, a very intense reading dominated by Casals' growling, passionate playing). The second generation centered around Rudolf Serkin at Marlboro in the Sixties and Seventies (a very fine C Major Quintet comes from that era). Now we have the third generation, which centers around Stern, Yo-Yo Ma, Emmanuel Ax, and other current stars from NY City and Marlboro.

This C Major Quintet from 1993, in excellent 20-bit sound, exhibits everything wonderful about all three generations: the selfless commitment of virtuosos to play as an ensemble, a deep respect for the score, and a sense of spontaneous joy in the playing. For those reasons alone this balanced, songful account would be treasurable. One must admit that Stern no longer plays entirely in tune, but his lapses are minor. As for the style they adopt, Stern-Ma-and-company prefer a flowing, lyrical approach quite at odds with the dug-in, intense apprach of the Alban Berg Quartet in their acclaimed recording (EMI). Personally, I htink the Americans are closer to the gentle spirit of Schubert, and there's dramatic contrast where it's needed--the ABQ are on the assault in every bar. One could live with this version for a long time without needing another. The Boccherini quintet that fills up the CD is not music I appreciate, but it is played with all the virtues found in the Schubert.

Great Schubert!.......2001-09-07

I ordered my copy of this cd from Amazon and just got my copy today and i'm listening as i type. It's one of the best accounts i've heard. The musicians are all world class. As a cellist, it's nice to see Yo-yo Ma's name in the lineup. If you haven't experienced the quintet i really suggest you do. It's really a gorgeous piece of music and easily one of the best written pieces of chamber music written, ever, period. Schubert sure did give us a humbdinger here! Enjoy
oh yeah the Boccherini's good but that's not what i bought the cd for.

excellence in musical philosophy.......2001-06-05

Little could be closer to majestic adherence to principal standards and moral positions than hanging on to that C Major bar (Schubert's Adagio - Opus 956). The intensity of moral strength is overwhelmingly present.

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