SCHUBERT String Quintet. String Quartet D703
Kirshbaum joins the Takács for a second look at the Quintet
View record and artist detailsRecord and Artist Details
Composer or Director: Franz Schubert
Genre:
Chamber
Label: Hyperion
Magazine Review Date: 12/2012
Media Format: CD or Download
Media Runtime: 63
Mastering:
Stereo
DDD
Catalogue Number: CDA67864
Tracks:
Composition | Artist Credit |
---|---|
String Quintet |
Franz Schubert, Composer
Franz Schubert, Composer Ralph Kirshbaum, Musician, Cello Takács Quartet |
String Quartet No. 12, 'Quartettsatz' |
Franz Schubert, Composer
Franz Schubert, Composer Takács Quartet |
Author: Harriet Smith
As anticipated, there’s much to admire in their pacing and detailing of the piece. Subtle changes of colour abound, not least in the balance at the start of the slow movement: the first violin’s soulful phrases duetting with the pizzicato second cello against a quietly sustained backdrop from the other players. But turn to Belcea/Erben and you’re drawn into an even more confiding world. Both groups judge the tempo well though – compared to the Lindsays’ extreme languor on the one hand and the strikingly quick tempo adopted by Heifetz et al. Tempi generally are very well judged, the Scherzo given a real one-in-a-bar impetus, though I’ve heard more heart-rending performances of the Trio. And in the finale, taken at a steady tempo – again quite similar to the Belcea’s – there is much incidental detail to enjoy, though the Heifetz-led performance finds a greater degree of cumulative intensity. The playing is consistently impressive but what I missed was a sense of fearlessness.
The issue with the Quintet crystallises when you turn to the Quartettsatz. Suddenly all the things that make this ensemble so remarkable are on display: the confidence to take risks, the spontaneous-sounding rubatos and the independence of each player while sharing a collective vision. Examples abound. There’s the tempo to start with: daringly fast, leading to a performance more febrile than that of either the Jerusalem or – surprisingly perhaps – the Elias, the latter putting more emphasis on the movement’s lyricism. Yet the Takács never sound unduly pushed. The detail is entrancing, be it the dramatically ascending scales in the first violin against the intense, scrubbing accompaniment or the explosively powerful tuttis. And the flexibility of leader Edward Dusinberre’s phrasing is a particular joy, as is his sound – that ideal mix of warmth and precision. The Lindsays may find a comparable freedom but theirs is an altogether rougher diamond. So very much a disc of two halves and it’s for the Quartettsatz that this is primarily recommendable.
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