Customer Reviews

Mendelssohn: Octet; Quintets Nos. 1 & 2; Quartet No. 2

5 star:		(5)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I bought this set after a slight disappointment with L'Archibudelli's disc of the quintets. Not only is this one cheaper, it has twice as much music and I prefer the performances. I listened to the A major quintet in both versions and the obvious difference is in the pitch and the overall sound. Hausmusik (H) is lower in pitch and the sound is richer, warmer, with less high frequencies, while the modern pitch that L'Archibudelli (A) use results in a brilliant, highly polished sound, almost as if there were four violins rather than two and two violas.

There are two main effects on the music: first, when there are several lines at once in the music it is difficult to disentangle them in A, the upper instruments tend to get in each other's way. In H the inner parts are much more clearly audible because of the distinctive darker colour of the violas and the less assertively bright violin sound. This is particularly noticeable in the middle of the 1st movement where violas have important low-placed figures while the violins have the main melody; also at one point in the last movement, you can even hear a humble viola accompaniment if you listen carefully to H, but it doesn't get a chance in A.

Second, the range of tone colour in H is much greater, since the viola sound is clearly different from the violins. The best example is at the beginning of the slow movement: there is a particular hushed, dark, intimate quality to H which is lacking in the other performance. This is one place where the composer's life really did influence the music - the movement was a tribute to a friend who had recently died, so a dark elegaic quality is appropriate. Also, in the whole piece in fact, H has more contrast between loud and soft.

Other aspects also favoured this performance. The leader of A, while throwing off semiquavers with the best of them, is somewhat at a loss in sustaining long melodic lines, and suffers at times from a wobbly bow when trying to play softly. In the slow movement marked "sostenuto", the main melody is anything but, being cut into bar-long pieces by the "expressive" phrasing. H is not ideal in this either, but does give a sense of a continuous melody. At one point in the last movement a new theme in long notes comes in on the first violin and is passed to the other instruments. All the players in A and H play it legato - except the leader of A, who for some reason plays the crucial first entry in a light, detached way, as if it was just another accompanying part, or even not noticing that it's an important new theme! Musically it makes little sense, because the other instruments then seem to contradict the first violin rather than replying to or imitating it.

Most of the tempos were quite similar, but the 3rd movement scherzo is quicker in H, which along with the darker tone quality creates more character in the music, an hushed, frantic, almost conspiratorial fugue which foreshadows other Mendelssohn scherzos. In comparison A sounds like a counterpoint exercise.

So A is a technically brilliant, bright-sounding performance, but this set (H) reveals the depth and character that A misses.

Another reviewer, Sphaernklang, has written a thoughtful, detailed, and scholarly review of this oustanding 2-CD set. My own review is meant only to supplement his. First, I absolutely agree with his comments about the range of tone color and the clearly audible separate parts. The musicians play these pieces seamlessly, as a unit, while also making clear the different parts played by each instrument.

I have not yet heard L'Archibudelli's version of these compositions, which the other reviewer contrasts with Hausmusik in describing them as "technically brilliant". However, I have listened to these two Hausmusik CD's many times and find that this group is also technically brilliant, while also performing the music with depth, charm, and soul. All of the lyrical beauty of the adagio and andante passages is captured in these recordings. That being said, nowhere is Hausmusik's brilliance more impressive than in their exuberant glowing performance of the Octet, which, as the fourth and final selection on this 2 CD set, may be considered in a way as Hausmusik's finale.

The Octet is performed with consummate mastery, with the Scherzo and Presto having a wonderful energy. The electrifying performance of these last two movements radiates with the musicians' enthusiasm and their love for the music. Amidst the unending deluge of adagio compilation CDs that have been released, there are occasionally a few compilations of energetic classical music. If EMI decides to release this kind of compilation, Hausmusik's outstanding performance of the Octet's last two movements will hopefully be included.

The sound quality of these digital recordings is excellent.

The CD instert has an interesting short essay in English, translated into German, and a different short essay in French that is also well-written and informative.

I agree with the other reviewer, the Scherzo from the Octet is wonderfull, there aren't many recordings out there with such high level of chamber playing.
I must also mention the L'Archibudelli recording of the Octet. Though not as clean, it is more dynamic (though this recording is certainly not lacking at all).

L'Archibudelli also recorded the quintet, but I like this recording more.
The strength of L'Archibudelli is also it's weakness, they are great soloists on the expense of chamber work.

As I recommended on the L'Archibudelli review, I would get both recordings since both excell in different aspects.
As for the Quintet, I feel that this recording is the better of the two.

The gem of this collection of four chamber works by Mendelssohn is the A minor quartet. It was published at the same time that the late Beethoven quartets were appearing and there is a strong family resemblance. The delightful third movement Intermezzo is similar in spirit to the Alla Danza Tedesca of Beethoven's Opus 130 and the opening bars of the fourth movement are similar to the passage at the end of the fourth movement of Beethoven's Opus 132 which introduces the soaring theme originally considered for his Ninth finale. This is not imitation Beethoven but it is in the spirit of the late quartets and may have even preceded Opus 130 and Opus 132.
The two quintets are not of the same stature but are still worth careful listening. The first, like the A minor quartet, is a youthful work while the second is a more mature composition. I won't comment on the Octet - I just don't like it.
The playing is superb and well balanced; unfortunately there are not more recordings by Hausmusik London available on CD. And the engineering is excellent. Finally, Virgin Veritas should be commended for making available two discs for the price of one.

This pairing of string pieces makes for a cohesive, very energetic set of cds. Both the quentets and the octet have melodic themes that are repeated with variations that will start to run through your head (they are a little too complex to whistle).

I love this double CD. It contains an excellent performance of Mendelssohn's wonderful Octet, of course, but also really good ones of the less well-known but immensely enjoyable String Quintets and the A minor String Quartet, which I think is a much-underrated work.

The Octet is a fabulous piece full of youthful charm and vigour, but also beautifully crafted and crammed with melodic and harmonic invention. It is simply a delight from start to finish, and the performance here does it proud with a collection of exceptionally fine musicians including stars like Monica Huggett, Pavlo Beznosiuk and Anthony Pleeth. They obviously love the music and bring real joy, tenderness and fire to it as appropriate. Technique and intonation are rock-solid throughout, and I found the choice of tempi perfect. Another reviewer here found the finale rushed, but to me it sounded just as it should - as exhilarating as the work of an ebullient sixteen-year-old genius delighting in life and in his own abilities should be.

The Quintets and Quartet are more sober works but none the less enjoyable for that. They are still very accessible and they have all that Mendelssohn joie de vivre in places, but there is often a more mature depth here. They are very rewarding, and for me they utterly confound those who maintain that Mendelssohn was just superficially pleasing and wasn't a great composer. The Quintets in particular seem to me to be chamber works of true quality and are again beautifully played by members of Hausmusik.

In short, this is fabulous music, excellently played and at a bargain price. Very warmly recommended indeed.

This is a first-rate CD with excellent performers and great recording values!

I have never been very fond of Mendelssohm's compositions. This recording does not help my vague impressions. It is not a very good recording- inconsistent sound (I had to keep changing the volume throughout). As usual with Mendelssohn, I kept falling asleep. It sounded better after a second hearing, but not enough for me to recommend it.A bargain record, but not really a bargain.