Customer Reviews

Schubert: String Quintet in C, d. 956

5 star:		(20)
4 star:		(2)
3 star:		(3)
2 star:		(0)
1 star:		(0)

 

 

Schubert's music often seems to work in the opposite manner as that of Beethoven: rather than being highly energized and goal-oriented, Schubert shuns endings, favoring extended and somewhat bittersweet lyricism. The C major quintet is a perfect example of Schubert's compositional style-- the first movement alone is nearly 20 minutes, and the entire quartet is just 7 minutes shy of an hour. The Quintet is not only one Schubert's finest works, but one of the finest pieces of chamber music ever written. This recording is simply beautiful (even though, alas, it is not a period performance). Schubert's music demands time and space in which to breathe, and the Emerson quartet gives both. The tempos are never rushed-- the second movement is heart breakingly slow and tender-- and the phrasing is exquisite. This is music in which one can and should wallow.

I would not have thought that this would be my preferred recording of the Schubert Quintet. When this was released, I was acquainted with the Emerson Quartet through their recordings of the Bartok quartets and also their recordings of the Ives & Barber quartets. That resume did not give me any assurance as to their competence as Schubert interpreters. Also, Rostropovich has never particularly been a favorite cellist of mine. I came to this recording with only moderate expectations.

I was pleasantly suprised. The Emerson Quartet has proven to be more than equal to the task and has crafted a sublime performance. This is one of the best Schubert recordings I have ever heard, and deserves to be on everyone's Desert Island Disc list. It certainly is on mine.

This disc must rank amongst the finest recordings of chamber music in the catalogue. Schubert's incredible masterwork (surprisingly unknown by non-music lovers), played to brilliant effect, with excellent quality sound. As has been stated by other reviewers, and has been known by music lovers since this music was composed, this music is worthy of being called "sublime." All four movements are superior, and as a whole, they form an enlightening musical experience.

Rostropovich, a true cello legend (some say, one of the two or three greatest ever recorded), has partnered here with the Emersons to great success. A true joy of music making can be felt among these 5 musicians, to the delight of the listener. Whether its the serene beauty of the 2nd movement, or the rhythmic drive of the 3rd movement, there are countless moments to treasure here. DG captures the sound of the efforts here in rich, full bodied, all-digital fashion. It should be stated that the disc has no couplings, and is rather short for its price -- but the quality here is of the highest caliber.

This work is amply represented by the catalogue, and though there are many excellent ones (Alban Berg Quartet, etc.), this recording is my personal favorite. Rostropovich's golden sound accompanies the Emerson's in alluring fashion. This is one of my desert island selections.

What a disappointment! This is a very tepid reading of the epic Schubert Quintet in C, D. 956. The Emersons have a reputation for a sort of monolithic approach, but, says Popular Wisdom (or at least David Patrick Stearns), they warmed and sensitized with Slava in their fold. I wanted to hear this Great Fuzziness, this sprouting of sensitivity, this flourishing of finesse, but I don't. I find the uniform string-sound, the lack of nuance and subtle dynamics, the bland phrasing, the lack of tension, to place this recording firmly in the realm of ordinary. Rostropovich made another recording of this work earlier for DG, with the Melos Quartet, a group I respect a good deal more than the Emersons. I wonder how that compares to this. Based on the brief sound samples, I'd say it's better, with more life, more fire and more drama. Just contrast the two readings of the scherzi, for one small example. (Go ahead, do it now; both are here on Amazon's site.) The Melos recording has a much warmer, more radiant and *joyous* Slava; this one sounds more dutiful and even tired. Rostropovich himself once said, according to Isaac Stern, that "every concert must be ewent." Well, this one wasn't an "ewent," sorry.

I then compared the present recording to every Schubert D. 956 I could dig out of my collection: The Juilliard on Sony (back in the 80s when it was CBS), Isaac Stern/Pablo Casals/Milton Katims/Alexander Schneider/Paul Tortelier (Casals Edition); the Borodin Quartet with Misha Milman on Teldec; the Lindsay Quartet with Douglas Cummings on EMI; The Hungarian Quartet with Laszlo Varga also on EMI; Vera Beths, Anner Bylsma, Lisa Rautenberg, Jody Gatwood, Steven Dann, and Kenneth Slowik on Stradivarius Instruments from the Smithsonian Collection (Sony again). To my own surprise, the period folks on Strads came in first with a really intense, exuberent performance. Close second was, and this was another surprise, the Juilliards, who shaped phrases with great detail and gave me subtle changes in texture and dynamics throughout the lines to emphasize different emotional currents. The way they contrast the two themes of the first movement, with the second having that quality of stopped-time worth of Schnabel at his finest, is alone worth the price of the disc. With the Juilliards the work unfolds as a human drama, with contrasting characters, heroes and villains, sunlight and darkness, a far cry from the emotionally monotonous current release. The Hungarians are also very fine and at such a budget price, highly highly recommended. And the Stern/Casals/et al set is marvelously felt, with a warm and engaging Fifth Symphony performed by the Prades Festival Orchestra to boot. All of these are recommended over this disc here, and most are either cheaper or have more music or both. In such a crowded field, and on such crowded record shelves as mine (no kidding, my wife is close to threatening me with divorce), I can't keep this disc. But I am looking forward to checking out the one with Rosty and the Melos Quartet.

I won't disagree with the chorus of praise here, but I will point out that this recording of Schubert's quintet, which the Emerson Quartet recorded with Rostropovich on the 125th annivesary of BASF AG, is available with 4 of Schubert's string quartets: Schubert: The Late String Quartets; String Quintet.

For just a few dollars more, you also get Schubert's "Rosamond" quartet in A minor (D 804), the "Death and the Maiden" quartet in D minor (D 810), the quartet in D (D 887), and the 2-movement "Quartettsatz" quartet in C minor (D 703) (the 2nd movement of this is only a fragment that he left unfinished).

Just to let you know - if you're considering the Emerson/Rostropovich recording of Schubert's quintet, you may find that collection a better deal than this one.

One of Mstislav Rostropovich's greatest recordings. When played right, the central adagio of this great Schubert score makes time stand still: The music creates a dreamlike logic all its own. Rostropovich's collaboration with the Emerson String Quartet has the added attraction of coming in a set of Schubert's late string quartets that proves addictive. --Octavio Roca

Not only do non-musicians adore listening to this (once they discover the piece), but musicians who have had the opportunity tell me that it is one of the most rewarding performing experiences they've ever had. This seems true of the members of the Emerson and Mr. Rostropovich. From the introduction of the remarkable duet found in the first movement to the intense and driving finale, this album not only displays Schubert at his finest, but also the sheer love of music that these five musicians possess. It is simply one of the finest musical events that have ever been recorded, and is a necessity for anyone who loves classical music.

I can only agree with the other reviewers; this music is sublime, the second movement is breathtaking. When I contemplate my own mortality I hope the last music in my mind is that slow movement or else the slow movement from Bachs concerto for two violins. No adjective could be wasted in trying to capture, in words, this music. But I think it's wasted effort nonetheless; there are no such words in any language. Surely a composer must have an angel sitting on his shoulder when he comes up with music like this. After a few listenings you may find one sitting on yours.

Daniel A. Harris claimed in his post that the intonation between different voices in this recording of Schubert's cello quintet is consistently out of tune. What might be a more accurate explanation is that Harris does not truly what "intonation" is.

If there should be a single worthy praise for the famed Emerson String Quartet, it is their emaculate intonation. A listener may be able to justly criticize such aspects as musicality or unique musical touches, but certainly not intonation.

This also applies to the world famous cellist Mstislav Rostropovich, who is featured in this recording. Rostropovoch's technique is considered by practically all musicians in the world to be nearly perfect, rivaling that of Heifetz. I believe that Mr. Rostropovich would be extrememly insulted to hear that someone has claimed that his sense of intonation is questionable, and that he would not notice such an obvious thing as ensemble intonation.

****************************

In actuality, this is the defining recording of the Quintet in C major by Schubert. Although I have heard other recordings of this quintet, namely that of such illustrious musicians as Heifetz, Primrose, and Piatigorsky, Emerson's interpretation is unmatchable. I extremely recomend this recording to any and all.

I consider this work to be found in the front rank of Schuberts work.
The melodic partwriting brings an atmosphere of tender intimacy which the musicians fully bring over. Their playing together lets me forget that they are 5 individuals but rather they give the impression as if this would be one single instrument played by one musician. You are almost ignoring the role Rostropovich plays here - he is fully integrated and does not impose himself, perhaps he motivates the four others to supreme performance but you do not notice this. Just beautiful music.