Schubert: String Quartets (Complete), Vol. 3

Editorial Reviews
Amazon.com
Few music lovers know Schubert's earlier string quartets, which were written for family use when he was in his teens. Even the latest of these works, the Quartet No. 9, dates only from Schubert's 18th year. That piece, by far the best music included here, has some real Schubertian qualities; the others are talented imitations of Mozart and Haydn. The Kodály Quartet plays all of this music with vigor and comprehension, and the performances are thoroughly satisfying. They are not as affectionate and songful as the much more expensive series by the Leipzig Quartet on MDG. For a casual investigation of the music, the Naxos disc is more than adequate. For the ultimate performances, go with MDG. --Leslie Gerber

Tracks:

String Quartet (In Various Keys), D 18 (No.1): Andante - Presto vivace
String Quartet (In Various Keys), D 18 (No.1): Menuetto
String Quartet (In Various Keys), D 18 (No.1): Andante
String Quartet (In Various Keys), D 18 (No.1): Presto
String Quartet in C major, D 32 (No.2): Presto
String Quartet in C major, D 32 (No.2): Andante
String Quartet in C major, D 32 (No.2): Menuetto. Allegro
String Quartet in C major, D 32 (No.2): Allegro con spirito
String Quartet in B flat major, D 36 (No.3): Allegro
String Quartet in B flat major, D 36 (No.3): Andante
String Quartet in B flat major, D 36 (No.3): Menuetto. Allegro non troppo
String Quartet in B flat major, D 36 (No.3): Allegretto
Quartet Movement In C Minor, D 103: Grave - Allegro

Tracks:

String Quartet in C major, D 46 (No.4): Adagio - Allegro con moto
String Quartet in C major, D 46 (No.4): Andante con moto
String Quartet in C major, D 46 (No.4): Menuetto. Allegro
String Quartet in C major, D 46 (No.4): Allegro
String Quartet In B Flat Major, D 68 (No.5): Allegro
String Quartet In B Flat Major, D 68 (No.5): Allegro
String Quartet In D Major, D 74 (No. 6): Allegro ma non troppo
String Quartet In D Major, D 74 (No. 6): Andante
String Quartet In D Major, D 74 (No. 6): Menuetto. Allegro
String Quartet In D Major, D 74 (No. 6): Allegro

Tracks:

String Quartet In D Major, D 94 (No. 7): Allegro
String Quartet In D Major, D 94 (No. 7): Andante con moto
String Quartet In D Major, D 94 (No. 7): Menuetto. Allegro
String Quartet In D Major, D 94 (No. 7): Presto
String Quartet In B-Flat Major, D 112 (No. 8): Allegro ma non troppo
String Quartet In B-Flat Major, D 112 (No. 8): Andante sostenuto
String Quartet In B-Flat Major, D 112 (No. 8): Menuetto. Allegro
String Quartet In B-Flat Major, D 112 (No. 8): Presto
String Quartet In G Minor, D 173 (No. 9): Allegro con brio
String Quartet In G Minor, D 173 (No. 9): Andantino
String Quartet In G Minor, D 173 (No. 9): Menuetto. Allegro vivace
String Quartet In G Minor, D 173 (No. 9): Allegro

Tracks:

String Quartet In E-Flat Major, Op. Post. 125, No. 1, D 87 (No. 10): Allegro moderato
String Quartet In E-Flat Major, Op. Post. 125, No. 1, D 87 (No. 10): Adagio
String Quartet In E-Flat Major, Op. Post. 125, No. 1, D 87 (No. 10): Scherzo. Prestissimo
String Quartet In E-Flat Major, Op. Post. 125, No. 1, D 87 (No. 10): Allegro
String Quartet In A Minor, Op. 29, No. 1, D 804 (No. 13) 'Rosamunde': Allegro ma non troppo
String Quartet In A Minor, Op. 29, No. 1, D 804 (No. 13) 'Rosamunde': Andante
String Quartet In A Minor, Op. 29, No. 1, D 804 (No. 13) 'Rosamunde': Menuetto. Allegretto
String Quartet In A Minor, Op. 29, No. 1, D 804 (No. 13) 'Rosamunde': Allegro moderato

Tracks:

String Quartet In E Major, Op. Post. 125, No. 2, D 353 (No. 11): Allegro con fuoco
String Quartet In E Major, Op. Post. 125, No. 2, D 353 (No. 11): Andante
String Quartet In E Major, Op. Post. 125, No. 2, D 353 (No. 11): Menuetto. Allegro vivace
String Quartet In E Major, Op. Post. 125, No. 2, D 353 (No. 11): Rondo. Allegro vivace
String Quartet In D Minor, D 810 (No. 14) 'Death And The Maiden': Allegro
String Quartet In D Minor, D 810 (No. 14) 'Death And The Maiden': Andante con moto
String Quartet In D Minor, D 810 (No. 14) 'Death And The Maiden': Scherzo. Allegro molto
String Quartet In D Minor, D 810 (No. 14) 'Death And The Maiden': Presto

Tracks:

Quartet Movement In C Minor, D 703 (No. 12): Allegro assai
String Quartet In G Major, Op. Post. 161, D 887 (No. 15): Allegro molto moderato
String Quartet In G Major, Op. Post. 161, D 887 (No. 15): Andante un poco moto
String Quartet In G Major, Op. Post. 161, D 887 (No. 15): Scherzo. Allegro vivace - Trio. Allegretto
String Quartet In G Major, Op. Post. 161, D 887 (No. 15): Allegro assai

Customer Reviews:

This set or the Auryn Quartet set?.......2004-06-06

I read, in a book on string quartets, the statement: "More than half of the best string quartets had been written when Schubert died in 1828". I agree, but would put the percentage at more like 75 or 80%. The author went on to include all of Schubert's, even those that he wrote as a teenager. I was surprised by this comment, but now, having now heard his complete string quartets, I have to agree. Even his early ones are superb!

To the recordings: I was just a bit disappointed. The sound seems a bit harsh in places, not as warm as sets I have by the Quartetto Italiano (Beethoven), Melos Quartet (Mozart) and Aoelian Q (Haydn). No doubt they are technically very correct, and show real liveliness - the violins just sound a bit scratchy in places.

The only other complete set seems to be the Auryn Quartet recording, highly recommended by the Penguin guide, but twice as expensive. Naxos offers 12 or the 15 quartets on 5 separate CDs. I'd liked to have heard the Auryn recording before I'd made the decision to purchase this one - who knows, I might have made the same decision anyway.

Buy it for the right reasons.......2002-10-04

I agree with the other review, but there is an alternative to this set, by the Auryn Quartet, and it is also excellent. So, buy this set for the right reasons, whatever those are, such as: the sound quality of this Chamber Ensemble (extremely warm)
or the overall feel of their playing (caring, respectful). Buy the set from the Auryn quartet if you care more about the sound quality of the recording (it is noticeably better) or if you happen to like a younger, slightly more aggressive approach.
Frankly I have both sets, and love both.

Great Music for a Good Price.......2002-05-02

I bought this set in Dec. '01 and it has since become a favorite in my collection. Schubert is a great composer and in my opinion, the quartets are where he really shines.

Sadly, it is hard to find recordings of all but the last four. In total, there are fourteen plus two fragments- one incomplete and one lost. They are all here and at such a good deal!

The first two discs (first five quartets and a fragment) really stand out. These were quartets Schubert composed as a student and they capture well the energy of youth and have a beautifully simple quality that always makes Schubert stand out. The middle discs track his early career with a more mature motif development revealing a taste of the boldness to come from his later quartets. Not as melodic as the first quartets in my opinion, but a treat nonetheless. Then ah! the last three discs. "Rosamunde," "Death and the maiden," Quartettstatz and C 703. Can you possibly go wrong? Don't answer that. You know it doesn't get better!!

Now we come to recording quality. Well, the Melos Quartet recorded these in the mid 70's. They've been digitally touched up and well done. Still, not convincing enough to sound like new. Treble and Mid is alright but the Bass is really lacking and overall, it still lacks the full sound of recordings from the Emerson and Tokyo quartets. Still, with touchup, these recordings sound more like late 80's- Not Bad!

Tracks:

Allegro
Andante Con Moto
Scherzo: Allegro Molto
Presto
Allegro Ma Non Troppo
Andante
Menuetto: Allegretto
Allegro Moderato

Amazon.com

The Takács Quartet, after building an enviable catalogue of excellent recordings for Decca, particularly their Beethoven Quartets, now turn to Schubert with peerless results. The Death and the Maiden Quartet has had many fine recordings but this one is unparalleled in its impact as the Takács intensify the drama and melancholy that pervade the work. Accents are bold, tempos are mostly brisk without being overly hurried, and heartstrings are tugged by the pathos of the Andante. Pointed phrasing and steady rhythms give the Scherzo its power while the outer movements have a frightening, almost demonic intensity. The earlier Rosamunde Quartet is almost on the same extraordinary level. Quibblers may find the opening faster than they prefer, but the Takács still make it sound tenderly nostalgic with a hint of the tragic lurking just beneath the surface. They also project the grimness of the work while aptly softening the demonic energy pervading their Death and the Maiden. Even as they differentiate the two quartets, they preserve characteristic Takács traits such as beautiful tone, tonal balances, flawless solos, and rhythmic vitality. Even their loudest fortissimos never turn harsh, thanks in part to Hyperion's uncannily life-like engineering. --Dan Davis

Customer Reviews:

Glorious Performances.......2007-01-30

Franz Schubert wrote his 13th and 14th quartets in 1824 having not written anything in the form for several years. These were important compositions for Schubert and he dedicated them to Ignaz Schuppanzigh who was the leader of a string quartet whose opinion of the 14th quartet was unfortunately not favorable). As the notes for the CD point out, Schubert was in a melancholy mood having discovered that he has syphilis and also from the belief that his youth was gone never to be recovered. I knew of the Takacs Quartet through reputation only until the advent of this CD. From the opening bars it is evident that this recording of Schubert's most popular string quartets is special; tempos are well judged and the phrasing is beautiful. The Takacs bring out the symphonic elements of the music with precision.

The 13th quartet bears the name Rosamunde as Schubert included one of the melodies he had written for the play. In contrast to Schubert's other quartets, all of the movements of the 13th begin pianissimo. The Andante quotes the well-know them from the Rosemunde incidental music at first played as a pleasant minuet but then restated with more agitation. The Menuetto is sadly sweet and the Finale has a Hungarian twist.

The 14th goes by the name Death and the Maiden for a melody Schubert uses in the second movement borrowed from a song. The subject of the quartet is concerned with the loss of youth and indeed the tone of the Andante is one of melancholy. The opening movement is a contrast of tension and relaxation as the melodies alternate between a state of agitation and calm. The Scherzo is dance-like with a trio that is quiet and graceful and the tarantella Finale is wildly exuberant.

Even if you already have these quartets on CD you will want to hear the new Takacs Quartet recordings. The recording is beautifully done and the booklet notes by Mischa Donat are very informative.

Unbelievable - Perfect Recording.......2006-12-01

This is the absolute best recording of these two quartets to date. The Takacs Quartet has impressed many with their previous recordings, and this will impress them even more with this new release. Their new partnership with Hyperion is off to a great start. The acoustics of the hall are perfect, not too dry - not too much eco. The balance of the recording is superb with each instrument being presented equally. The interpretation of the D 810 "death and the maiden" is jam packed full of excitement. They play with unbelievable drive and intensity while making sure never to over-do anything. The D 804 "Rosamunde" quartet is the definition of beauty. Every phrase is treated with care and never, never is a line forgotten. If your looking for a recording that is satisfying in all ways, unlike the Emerson Quartets recording (which I find to be extremely technically perfect but nothing else), this is a must buy recording. Even if you own the great Busch Quartet recordings of these works you should invest in these unmatched performances.

Another "Death and the Maiden"?.......2006-11-17

These are two of the most recorded String Quartets - so who needs another set?

The new line up of the Takacs Quartet proves that we all do! Their ensemble is impeccable and makes me, for one, to listen to these works anew.

The speed for the first movement of the "Maiden" may be a little fast for some ears - but they bring it off. As for the slow movement - I have never heard it better played.
The "Rosamunde" is equally well done and this is a `must have' CD for all lovers of Schubert
It was one of the top recommendations of "The Gramophone" magazine - and no wonder!
If you love Schubert - I urge you to buy this CD - you will not be disappointed!

Schubert Complete String Quartets Vol. 6: Quartet No. 15 (1826); Five German Dances with seven trios and a coda, D. 9

Average customer rating:

Often expressive and dramatic, at times a little plodding and not too concerned with architectural coherence
A Fine Budget Version of Schubert's Last String Quartet
A Beautiful Conclusion to This Series

Schubert Complete String Quartets Vol. 6: Quartet No. 15 (1826); Five German Dances with seven trios and a coda, D. 9

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Schubert: String Quartets (Complete), Vol. 3
Schubert: String Quartets (Complete), Vol. 1
Complete String Quartets 4
Schubert: String Quartets (Complete), Vol. 2
Schubert: Complete Quartets, Vol. 5

ASIN: B0009JMEHY
Release Date: 2005-06-21

Tracks:

Allegro Molto Moderato
Andante Un Poco Moto
Scherzo: Allegro Vivace
Allegro Assai
No.1 In C Major
No.2 In G Major
No.3 In D Major
No.4 In F Major
No.5 In C Major

Customer Reviews:

Often expressive and dramatic, at times a little plodding and not too concerned with architectural coherence.......2006-08-14

In the 6th volume of its complete traversal of Schubert's compositions for string quartet on Naxos, the Kodaly Quartet brings together the great quartet opus 161, one of the last works of Schubert's desperately short life and one of his most poignant compositions, and an early rarity, written when he was 16, the 5 German Dances D. 90. The latter is written in a typically "gallant" style, with no great depth but full of charm. But the big nut on this CD is of course the 15th quartet.

In the first movement "Allegro molto moderato", the Kodaly Quartet is quite dramatic, very attentive to the movement diverse moods, from harrowing vehemence to hushed mystery, and nicely retains the dance-like lilt of the second theme; there is a price to pay, however, in the multiplication of tempo transitions, none of them prescribed by Schubert ; one senses musicians interested in immediate dramatic impact rather than architectural coherence. The second movement "Andante un poco moto" is taken by the Kodaly quartet at a very deliberate, not very "motorized" tempo (almost as slow as the Quartetto Italiano in their recording from 1976), making it sound more like an adagio in plaintive tone, almost a funeral march, with accents that evoke not so much cries of revolt or pain as moans; the approach is effective in its own way, but it is not exactly what Schubert wrote. And here again, in the more animated passages, the Kodalys do not hesitate to perceptibly accelerate tempo; Quartetto Italiano was more consistent in that respect.

Under the Kodaly's bows, the Scherzo's "Allegro vivace" (3rd movement) is not particularly vivacious, but nonetheless sufficiently light and full of bounce, as befits this musical invention which suggests the bumblebee's flight or the butterfly's flutter (and the elve's dance will do, too). The middle trio however is rather mawkish, and again the Kodalys imperceptibly speed up their tempo in the second part. Their Finale is somewhat disappointing, due to a tempo that is too deliberate to evoke the race to the abyss that others conjure (Gidon Kremer and friends on Sony take as much time to get through the movement - but with the repeat) and, while the ensemble's tone production until then had been not exceptional but unexceptionable, the 1st violin becomes a bit sour in its upper registers.

Not an exceptional version then, but at that price one that remains very acceptable.

A Fine Budget Version of Schubert's Last String Quartet.......2005-06-25

Schubert's 15th and last string quartet is one of his most important works. It was written between the 20th and the 30th of June 1826 (Schubert died in 1828, when he was only 31 years old). This quartet is an incredibly masterful display of emotional depth, extraordinary harmonic progressions, and sheer rhythmic impetus.

The first movement opens in a very direct fashion - it lacks the usual formal introduction. There are some ethereal soft echo effects here from the cello, accompanied by tremolos in the upper strings. Schubert knew he was dying at the time he wrote this music, and it is a very moving mixture of defiance, anguish and resignation. The second movement is a songful and serene night piece that is disturbed by two violent outbursts. Again the cello plays a very important part here, introducing the first plaintive motif and repeating the songful theme after each outburst. The scherzo, which is based on a quavering figure that is interspersed with some short spiccato themes, has been likened to a dance of elves. The finale was once described by writer J. A. Westrup as "a mad rondo, violent in rhythm and wild in harmony." Abrupt alternations between major and minor lead to some very unexpected harmonic progressions - this is Schubert at his most creative and audacious.

This budget stereo Naxos recording by the Kodaly Quartet concludes its survey of Schubert's string quartets. I feel this is the finest single-disc stereo version, and the inclusion of the lovely German Dances as a filler makes this CD a most attractive purchase. I certainly prefer the warm, mellow playing here by the Kodaly to the brash and rather hard-boiled Sony CD account by the Juilliard Quartet (I absolutely love the latter's Bartok & Schoenberg recordings, but they tend to be too assertive in Schubert). Likewise, I think the Kodaly's account is far better than the Lindsay Quartet's (ASV), which has some dreadfully out of tune playing (I have weeded both the Juilliard and the Lindsay recordings).

To my ears, the main stereo competition here is the extremely polished Quartetto Italiano (available in an inexpensive Philips "two-fer" of Schubert's four last quartets). While I prefer the latter, I'm also keeping the Kodaly (the German Dances, while brief, are pretty indispensable). If memory serves, an orchestrated version of the first Dance was used in a highly-effective way with other Schubert works (especially the Piano Trio #1) in Stanley Kubrick's brilliant film "Barry Lyndon."

However, this Vol. 6 of the Kodaly Quartet's Schubert is the only one in their series that I will be keeping. That's not to say that the series is in any way unattractive. But Schubert's first seven quartets are fairly early, immature works, and I can't see owning multiple versions of them. And there are simply better versions of the later quartets. All 15 quartets were once available on mono Westminster LPs from the early 1950's (in excellent sound). These were performed by the wonderful Vienna Konzerthaus Quartet (Kamper, Titze, Weiss and Kvarda), all of whose members were players in the Vienna Philharmonic under conductor Wilhelm Furtwangler. This remains my "desert island" version of the complete quartets (they have been issued on CDs in Japan on the MCA label).

The great Busch String Quartet (Adolf Busch, Gosta Andreassen, Karl Doktor, and Hermann Busch) recorded the "ne plus ultra" account of #8, a superb #14 (unfortunately, due to 78 rpm constraints, the latter is shorn of all the repeats), and #15. These are available, along with the Fantasie in C (Busch & Serkin) and the Piano Trio #1, on a Pearl CD set.

My personal favorites in the last three Schubert quartets:

#13. The Vienna Konzerthaus captures like no other ensemble the intensely Brucknerian span of this gorgeous work.

#14. In chronological order, my all-time favorites of this stunning masterpiece are the ORIGINAL 1927 Budapest Quartet (Emil Hauser, Joseph Roisman, Istvan Ipolyi, and Harry Son) on a hard to find Novello CD; the 1927/28 Capet Quartet (a reading of extraordinary spiritual purity on Biddulph); the heartbreakingly beautiful 1936 Busch Quartet (Pearl); the c. 1950 Vienna Konzerthaus (a uniquely warm and gemutlich account on Westminster LP and Japanese MCA CD); and the gloriously well-played c.1951 Hollywood Quartet (mine is on a Capitol LP).

#15. The Busch and the Vienna Konzerthaus are both supremely eloquent here, but my ultimate allegiance is to the latter's inimitable warmth and lyricism.

All of those versions are, of course, in monophonic sound. For a single CD version of #15 in good stereo sound, I feel this effort by the Kodaly Quartet is clearly the one to own.

Jeff Lipscomb

A Beautiful Conclusion to This Series.......2005-06-25

The Kodály Quartet has been slowly recording all of Schubert's string quartets and with this Volume 6 we come to the end. The CD contains Schubert's last finished quartet, No. 15 in G Major, D. 887, Op. 161, and the disc is filled out by Five German Dances, D. 90. The Kodály Quartet has more or less become the Naxos label's house quartet, having recorded large chunks of the central quartet literature for them. This is good, because not only are they a wonderful quartet, they are non-interventionist without being bland. String quartet playing is hard work and requires much slow, thoughtful study on the part of the players. It is to the Kodály's credit that they have taken a slow and steady course through the Schubert quartets, some of which they surely had never played before; the early apprentice works in particular are almost never played and yet the Kodály played them not only with musicianly respect but with love and admiration.

When we get to Schubert's last quartet, though, we have an undisputed masterpiece that every quartet worthy of the name plays. Its opening movement is one of the most marvelous (and harmonically complicated) works he ever composed. It takes fifteen minutes to play and works its magic in subtle ways. For instance, when it comes time for the recapitulation the first theme is changed from minor to major, and the second from major to minor. Had anyone ever thought to do that before? The minor key cello theme that opens the Andante is one of Schubert's patented melodies; it almost tears your heart out with its gentle pathos. In the Scherzo we are in familiar elfin Schubertian territory that evolves into ländlerisch folk dance rhythms in the Trio, gentle, not turbulent. And this prepares us for the high spirits of the Finale, a rowdy tarantella. The Kodály play this quartet with a maximum of relish, a minimum of gratuitous edge. They make this complex quartet what it is really meant to be, a thoroughly comprehensible compendium of 1826 quartet writing, easy on the ear and rewarding for the analytic mind. This is a beautiful performance worthy to stand beside any of the earlier treasured recordings (Busch, Alban Berg, Quartetto Italiano) this marvelous quartet has been afforded.

The disc is rounded out by five German Dances written when Schubert was sixteen. They are notable for their rough good humor. No. 4 lasts a mere 50 seconds but is infectious enough to have this listener up and stomping his feet in an enthusiastic approximation of dancing. The Kodály's approach is, fittingly, more rough and ready in these pieces than in the subtleties of the 15th Quartet, evidence that they are really entering into the spirit of the music itself rather than applying a one-size-fits-all approach.

Although with a timing of only 59+ minutes, this CD is heartily recommended for its marvelous musicmaking.

Scott Morrison

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!!

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

Quartets | Chamber Music | Classical | Styles | Music

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The Haydn Project
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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: String Quartets (Complete), Vol. 3

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Schubert: String Quartets (Complete), Vol. 3

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000HZOJ
Release Date: 1999-01-19

Tracks:

Str Qt No.9 in g, D.173: Allegro Con Brio
Str Qt No.9 in g, D.173: Andantino
Str Qt No.9 in g, D.173: Menuetto/Allegro Vivace
Str Qt No.9 in g, D.173: Allegro
Str Qt No.7 in D, D.94: Allegro
Str Qt No.7 in D, D.94: Andante Con Moto
Str Qt No.7 in D, D.94: Menuetto/Allegretto
Str Qt No.7 in D, D.94: Presto
Str Qt No.3 in B-Flat, D.36: Allegro
Str Qt No.3 in B-Flat, D.36: Andante
Str Qt No.3 in B-Flat, D.36: Menuetto/Allegro Ma Non Troppo
Str Qt No.3 in B-Flat, D.36: Allegretto

Amazon.com

Few music lovers know Schubert's earlier string quartets, which were written for family use when he was in his teens. Even the latest of these works, the Quartet No. 9, dates only from Schubert's 18th year. That piece, by far the best music included here, has some real Schubertian qualities; the others are talented imitations of Mozart and Haydn. The Kodály Quartet plays all of this music with vigor and comprehension, and the performances are thoroughly satisfying. They are not as affectionate and songful as the much more expensive series by the Leipzig Quartet on MDG. For a casual investigation of the music, the Naxos disc is more than adequate. For the ultimate performances, go with MDG. --Leslie Gerber

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I love this cd!
As good as it gets
Good Value, But Hardly the Best Recording
Flawed "Death and the Maiden"
Legendary Italians

Schubert: The Last Four Quartets
Franco Rossi , Franz Schubert , Piero Farulli , Elisa Pegreffi , Paolo Borciani , and Quartetto Italiano
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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Haydn: String Quartets Op. 76, Nos. 1-3

ASIN: B0000041BX
Release Date: 1995-04-11

Tracks:

String Quartet No. 14 In D Minor, D. 810 'Death And The Maiden': 1. Allegro
String Quartet No. 14 In D Minor, D. 810 'Death And The Maiden': 2. Andante con moto
String Quartet No. 14 In D Minor, D. 810 'Death And The Maiden': 3. Scherzo. Allegro molto
String Quartet No. 14 In D Minor, D. 810 'Death And The Maiden': 4. Presto
String Quartet No. 13 In A Minor, D. 804 'Rosamunde': 1. Allegro ma non troppo
String Quartet No. 13 In A Minor, D. 804 'Rosamunde': 2. Andante
String Quartet No. 13 In A Minor, D. 804 'Rosamunde': 3. Menuetto
String Quartet No. 13 In A Minor, D. 804 'Rosamunde': 4. Allegro moderato

Tracks:

String Quartet No. 15 In G, D. 887: 1. Allegro molto moderato
String Quartet No. 15 In G, D. 887: 2. Andante un poco moto
String Quartet No. 15 In G, D. 887: 3. Scherzo. Allegro vivace
String Quartet No. 15 In G, D. 887: 4. Allegro Assai
String Quartet No. 12 In C Minor, D. 703 'Quartettsatz': 1. Allegro assai

Amazon.com

Few quartets match this legendary Italian ensemble for tonal sheen and refinement. The ensemble imbues the famous variations movement of "Death and the Maiden" with a kind of choked inwardness that never dematerializes into bathos. One might wish the players to allow Schubert's extroverted moments their giddy head, rather than reigning things in. The group embarks upon the composer's other-worldly G Major Quartet with quiet, trembling tread, making you work with them as they divine the music's visionary beauties and dark truths. Listen to this performance in a quiet space, with the lights out. --Jed Distler

Customer Reviews:

I love this cd!.......2007-02-16

How can people give this less than 4 stars!? The performance by the Quartetto Italiano is great. Very confident and powerful playing. If you like "in your face" recordings you will like this. Very close miked and "hot" sound. Clearly played and wonderfully recorded. There may be better individual recordings, but as a set of four this is a stone cold bargain. I would highly recommend this cd.

As good as it gets.......2007-02-11

I had not come across the Quartetto Italiano before which is not so surprising as these recordings were made 30 - 40 years ago. However it is a great delight to find them as their playing delightfully taut and energetic. Maybe the tempo is a little slower than expected in the Andante of the G major quartet but it still brings out some wonderful highlights.
It would be surprising to find a btter recording anywhere.
Phil Rowe

Good Value, But Hardly the Best Recording.......2005-09-02

When I like a body of work by a composer, I collect many different recordings. For me, Schubert's late string quartets are perfect. I own several versions including the Melos Quartet and the Auryn Quartet. This Philips recording is a recent addition, and while it is a fair value, the sound is mediocre and the interpretation is irritating to me(every movement is slow, slow, slow).

Try to find a copy of the Auryn Quartet if you can. The recordings are magnificent and the music is perfect.

Flawed "Death and the Maiden".......2005-06-03

I am surprised that Alan Lekan ("Legendary Italians" 5/31/05) is the only reviewer to comment on the "booming" or thumping sound that appears throughout quartet number 14 regardless of the quality of playback equipment. Although the performances are outstanding Philips should never have released this recording, or at least not without a warning. Recommended purchase only to those who have other versions of #14.

Legendary Italians.......2005-05-31

The great composer Franz Schubert is often talked about as a "late bloomer," referring to how his last compositions emerged with great maturity, emotional complexity and consumate skill. These last four quartets are part of this final, masterful phase of Schubert's short life as a composer and should be in every chamber-music collector's shelf.

Among the finest performances of these great quartets stands the recordings here from the legendary Quartetto Italiano - one of the top quartets in the 60's and 70's. The Quartetto Italiano really have a nack for penetrating the depths of such emotive works as #14 or #15 and bring out the intended drama and pathos within. Their powerful reading of the great, last quartet in G (#15) is especially noted by many major reviewers as one of the finest recordings of this complex masterpiece. The first movement in particular is epic in scale (lasting some 25 minutes) and exudes a powerful, anguished emotional mood which the Italianos bring out with tremedous depth and passion that can send chills down your spine. In all, their playing is of the highest caliber and just sounds superb in terms of synchonicity, intonation and phrasing. Their unison within cresendos is impeccable as was their ability to create sonorities on a "symphonic scale."

However, I found one quirky sonic flaw throughout the entire "Death and the Maiden" and other quartets when listening with headphones: there was an intermittent and jarring "booming" sound that is quite distracting. It is probably not be an issue without headphones, but be forewarned nevertheless. Overall, the sound quality is very good but not perfect given the transfer to CD from the 1960's analog tapes. There is not quite the depth and realism of more modern recordings in general, but this should not discourage purchase for most.

Other quartets to consider for these works are the Guarnari Quartet and, in some works, the Emersons - although the Emerson's style is more "direct" and less "old world graceful" like the Alban Berg's or lyrically soaring like the Quartetto Italiano's overall sound. The Quatuor Mosaiques also recorded a powerful reading of the Rosamunde quartet and others that ranks with the best. All-in-all, I would say the Italianos is of the finest SETS of Schubert's greatest (last) quartets - although some individual quartets may be better represented by other ensembles. When I hear music of this stature, it reminds me how unfortunate it was for Schubert that his enormous talent and output was not recognized and valued in his day. And these last quartets are only a small part of that heritage.

Schubert: String Quartets Nos. 13 "Rosamunde" & 14 "Death and the Maiden"

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Powerful and dramatic - one of the best "Death & the Maiden"s

Schubert: String Quartets Nos. 13 "Rosamunde" & 14 "Death and the Maiden"
Franz Schubert , and Alban Berg Quartet
Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000DNH3
Release Date: 1990-10-25

Customer Reviews:

Powerful and dramatic - one of the best "Death & the Maiden"s .......2006-10-02

These are studio recordings, dating from 1985 and completing a series begun in the late 70s with the C-major quintet and pursued in the early 80s with the 15th quartet and the "Trout" quintet. The "Death and the Maiden" here is not to be confused with the later, live recording made by the ABQ and released in 1998 - which I haven't heard, but which received warm reviews.

The Alban Berg Quartet of course needs no advocacy. They have secured a firm position at the very top of the list of major string quartets in activity today, and this particular CD was greeted with many positive reviews. Yet, as I oftentimes find myself to be not in agreement with the critics' approval (or disapproval), I am happy to report that, of the more than twenty different versions that I have heard of Schubert's "Death and the Maiden" (from the Capet Quartet's 1928 recording to the present - and see my other comments for reviews of some of those), this goes right at the top of the pile.

The formidable tension the ABQ elicits in the opening Allegro derives not from the adoption of frenzied speeds as did the Capet Quartet in 1928 or the Emerson and Petersen Quartets (DG and Capriccio) recently but rather, helped by close recording and spacious acoustics, from tremendous vigor of bow attack on the strings - but never at the expense of tonal beauty - and crescendos of symphonic scope, lending the movement's dramatic moments an almost desperate power. Their rather spacious tempo also allows them to express the lyrical charm of the 2nd theme with no slowdown, and throughout the movement's alternation of drama and charm they maintain a commendable unity of tempo, displaying a fine concern for the music's structural coherence - the opposite of what the Juilliard Quartet does in both its recordings from 1959 (RCA now on Testament) and 1982 (Sony) with its constant accordion-like tempo shifting.

The same coherence of tempo relationships is again a remarkable feature of their 2nd movement, the "Death and the Maiden" theme and variations. While they don't conjure the same other-wordly sonorities as did the Juilliard Quartet in 1959, their utterance of the theme is rather on the fast side and true to Schubert's "Andante con moto", and in the ensuing variations, unlike many, they don't sacrifice unity of tempo to dramatic effect. Günter Pichler's violin in the 1st and 4th variations and Valentin Erben's cello in the third deliver a deeply-moving chant, variation 3 is not rushed but massive and hefty. More questionable though is the crescendo they apply on both utterances of the 5th variation's first part, where Schubert prescribes it only in the repeat.

The same raging vigor of accents is at play in the Scherzo, taken at a relatively brisk tempo (but not as precipitately as the Petersen Quartet) and while the Alban Bergs apply a slowdown of tempo in the middle trio (Schubert wrote no tempo change here), unlike many who do they manage to lend it charm without mawkishness. Again the brisk Finale has vigor and power as well as strongly marked dynamic contrasts. It sounds like an implacable and desperate race to the abyss.

There are other legitimate approaches and there has been a number of recordings worthy of note (the one by the Emerson Quartet on DG is another favourite, as well as a hard-to-find one by the Fine Arts Quartet on the defunct Swiss label Lodia), but I tend to find most of them flawed in one respect (or movement) or the other. Not so with the Alban Berg Quartet, which I find convincing and gripping throughout.

The same interpretive options are at play in the "Rosamunde" (13th) Quartet. Those who expect charm and easy-going amiability, stay aloof. The Alban Bergs seize every opportunity to heighten the piece's drama, with powerful and strongly-marked accents. Yet their choices of tempo seem always well-judged, with an easy-going and amiable "allegro moderato" finale.

Schubert: String Quartets (Complete), Vol. 1

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Great Performances by Talented Musicians From The Eastern Bloc

Schubert: String Quartets (Complete), Vol. 1

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Schubert: Complete Quartets, Vol. 5
Complete String Quartets 4

ASIN: B0000273VK
Release Date: 1994-01-05

Tracks:

String Quartet No. 14 In D Minor D. 810, 'Death And The Maiden': Allegro
String Quartet No. 14 In D Minor D. 810, 'Death And The Maiden': Andante con moto
String Quartet No. 14 In D Minor D. 810, 'Death And The Maiden': Scherzo: (Allegro molto)
String Quartet No. 14 In D Minor D. 810, 'Death And The Maiden': Presto
String Quartet No. 12 In C Minor D. 703, 'Quartettsatz': Allegro assai

Customer Reviews:

Great Performances by Talented Musicians From The Eastern Bloc.......2005-10-20

Naxos is probably the best of the smaller labels in classical music. Although Deutsche Grammophon and Phillips are probably the leading contenders along with Sony, they have to pay a high price to make a deal with the likes of Perlman or I Musici di Roma. This among other factors, increases the cost of manufacture and distribution. Naxos is a small independent European label that essentially saw a shrude opening in this market after the Cold War. With the collapse of communism in Russia and Eastern Europe, many state-paid musicians and orchestras found themselves out of work and disbanded. Many of them made deals with Naxos and that is why they are so cheap compared to other labels. The low price has nothing to do with the quality of performance however and that is evident by this performance here.

Schubert was an early Romantic who emulated Beethoven but who was certainly not his imitator. This is perhaps best demonstrated by String Quartet No. 14 which is one of his later works. The piece is named 'Death & The Maiden' because it was based on a German poem of the same title depicting a young but doomed little girl walking innocently along while Death hovers above her. The supporting strings sound more at a scherzo pace instead of the allegro dominating the movement. All of the strings rush in to make their presnce known at once. The suspenseful arangements in which the strings are playing both extended and short frantic notes creates a sense of suspense, that somehting is about to happen. The piece then changes to a more melodic pace but quited short notes behind remind the listener that something is still lurking in the background. This piece is quite advanced for its time and is something more akin to what Schumann or Brahms would compose over 30 years after Schubert's death.

Naxos is usually always a great buy unless you strictly prefer the reputed groups and musicians contracted by the major labels such as Phillips, DG, or Sony. The price is certainly not an indication of performance at all because Eastern Europe and Russia spent a lot of money for musical academies and performances which generated many great musicians. This album is a perfect example.