Klarinet Archive - Posting 000921.txt from 2000/12

From: "Michael Bryant" <michael@-----.uk>
Subj: [kl] Schubert Octet
Date: Sun, 17 Dec 2000 14:08:29 -0500

Here is the (scanned) review in

The Gramophone, February 1955

SCHUBERT. Octet in F major for Clarinet, Horn, Bassoon and Strings, Op. 166.
Vienna Octet. Decca LXT 2983 (12 in., 36 shillings, 5 1/2 pence.).
Comparison: Vienna Konzerthaus Quartet, etc. (1/54) WLP 5094

It is fascinating to compare these two performances, both by Viennese
musicians, and impossible to make up one's mind finally about them.

Briefly, one feels that the Vienna Konzerthaus group are playing the Octet
to us for our enjoyment as well as their own, and in a thoroughly friendly
atmosphere the atmosphere of a Schubertiad. The recording is forward and
ample in tone, the string playing is occasionally rough, with some slight
lapses in intonation, the tone of the clarinet not very beguiling in the
lovely slow movement, the horn apt to be too loud.

For the performance by the Vienna Octet we are shown into a salon by the
butler and sit gingerly on gold chairs. The players take not the slightest
notice of us-the others all greeted us-but hieratically set about their
task, living intensely in and for the music alone. The result is exquisite.
Perfection of tone and phrasing, much loveliness of sound -particularly in
the duet between clarinet and first violin in the slow movement ; and
beautiful horn playing in the final bars of the first movement, really soft
where the other was not.

The Scherzo is not indeed so vigorous as in the Konzerthaus performance, but
the Vienna Octet have noted that the Trio-as also the Trio in the later
Minuet-is marked double piano almost the whole way through. The Variations
have less sparkle here : and in the unforgettable start to the last movement
(identical with the opening chords of the tragic Minuet of the A minor
quartet, composed about the same time) there is much less of the dramatic
impact of the Konzerthaus group, and less brilliance in the playing of the
glorious tune of the Allegro thereafter. The Konzerthaus people would join
us for some beer at the end of the performance : the Vienna Octet would melt
away into the artists' room and be seen no more. So there, in a mild
allegory, it is. If you want polish and subtlety and rare beauty of tone you
will get it from the Vienna Octet : if you want vitality and broad singing
lines, drama and sparkle you will get it from the Konzerthaus group. If you
want the better recording out of two that are both good, do not go to them.
And where is Schubert in all this ? We recognise him in the Konzerthaus
performance: in the other performance he may be present, beneath the polish,
in a guise known to only his closest friends.

Alec .Robertson.

MB

_____
Michael Bryant, Michael@-----.uk
Tel (messages 24hrs) & Fax by request
+44 (0) 20 8390 3236
http://www.bryant14.demon.co.uk
Rosewood Publications url:
http://freespace.virgin.net/s.westmeath
and http://www.rosewoodpublications.co.uk

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