I have no detailed information about the Hagens but understand they come from Vienna. Andras Schiff has become known this decade for playing Bach on the piano with a quite individual luminous touch; it is very suited to Schubert too. Like Ingrid Haebler (Philips), he seeks to charm in this quintet without dominating the balance or emphasizing his technique. Some will prefer Brendel's more exhibitionist playing (also Philips) which tends to make the music into a concert work rather than one for the home; his brisk tempos contribute to a concerto effect in some pages. The music poses several tempo problems. All the above ensembles increase speed, if only slightly, at bar 25 of the first movement; before that, the very hushed playing on the new LP is memorable. And Var. 5 in the fourth movement must go a bit slower than its predecessor. But what about the Trio of the Scherzo? Had Schubert really wanted it as much slower than the main section as Schiff makes it, he could not fail to have marked a change. The Gilels/Amadeus (DG) record shows that a very slight change is best. Schiff sounds very tame after one has heard Brendel's assault on the main Presto section. I like the simplicity of Schiff's approach early on in the variations, but in Var. 2 the viola, which has the tune, tends to be eclipsed by the cello; the balance is better on the Haebler and Brendel records. Schiff is alone in making the long repeat in the finale, and his playing is a joy in the sections that sound like another variation on that trout song; here Brendel snatches too much at the dotted rhythms. But in general he brings more excitement to this movement than anyone else.
Only the Amadeus record has a fill-up—the ubiquitous but enthralling Quartettsatz. The Haebler one, omitting the long repeats in both outside movements, is inclined to short-change its admirers.'