Beethoven Septet Op 20; Spohr Nonet Op 31
Peerless Viennese chamber-music-making that wears its years lightly
View record and artist detailsRecord and Artist Details
Composer or Director: Ludwig van Beethoven, Louis Spohr
Genre:
Chamber
Label: Testament
Magazine Review Date: 9/2003
Media Format: CD or Download
Media Runtime: 75
Mastering:
Mono
ADD
Catalogue Number: SBT1261
Tracks:
Composition | Artist Credit |
---|---|
Septet |
Ludwig van Beethoven, Composer
Ludwig van Beethoven, Composer Vienna Octet |
Nonet |
Louis Spohr, Composer
Louis Spohr, Composer Vienna Octet |
Composer or Director: Johannes Brahms, Wolfgang Amadeus Mozart
Genre:
Chamber
Label: Testament
Magazine Review Date: 9/2003
Media Format: CD or Download
Media Runtime: 66
Mastering:
Mono
ADD
Catalogue Number: SBT1282
Tracks:
Composition | Artist Credit |
---|---|
Quintet for Clarinet and Strings |
Johannes Brahms, Composer
Alfred Boskovsky, Clarinet Johannes Brahms, Composer Members of the Vienna Octet |
Author: John Warrack
The Vienna Octet’s performances once set a standard for many listeners learning the music, and doing so by endless playing of these records. Returning to them, after experience of many other performances, I continue to find them wonderful. The spring in the step of the Menuetto of Beethoven’s Septet and the elegance of the curving phrase that opens Spohr’s Nonet do not seem to me ever to have been bettered; countless details from these performances fit effortlessly into a long tradition which these players did not seem to have had to study, but simply inherited. Such, of course, is not the case with music-making: there is great craft in the composition of these performances.
Alfred Boskovsky’s simplicity of line in Mozart’s Larghetto is beautifully controlled, blending with the muted violin tone (and he seems never to need to breathe), as it is in Brahms’s Adagio, where he can merge into the strings as a secondary colouring in that richly scored music. The ‘Hungarian’ section of the movement is played not with the strong, almost peasant, tang which many players effectively bring to it; but there is something especially affecting in the gently understated manner of playing it, as if it were not imitation but a quiet refraction of experiences which Brahms was recalling from his youth. Many performances take the opening movement more slowly and ruminatively than this, but it is marked Allegro. The Octet’s easy flow has much to commend it, not least in the lightness of the allusions to the opening theme which permeate the music and return with such an affecting quality at the end of the work. It is not necessary to underline these references; they should, as here, seem to grow easily out of the music.
There will be those, nowadays, who are surprised by the light portamenti employed by the strings (especially the first violin); they do not sound out of place, even in Mozart, and certainly Brahms would have expected them. As the insert-note reminds us, this is music and music-making rooted in the Viennese Hausmusik tradition where the Octet must first have encountered the works; they are also masterpieces, and the line between domestic and universal here is seamless.
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