Franz SCHUBERT (1797-1828)
Gabrieli Quartet
Piano Quintet in A D667 “The Trout”
Moura Lympany piano
Principals of the London Symphony Orchestra:
John Brown violin
Alexander Taylor viola
Douglas Cummings cello
Thomas Martin double bass
EMI Classics for Pleasure 724357488624 [77.07]
String Quartet in D minor D810 “Death and the Maiden”
In this reissue from EMI Classics, we are presented with two of Schubert’s most beloved chamber works, “Death and the Maiden” and “The Trout,” performed by a notable assemblage of artists led by the Gabrieli Quartet and featuring the spirited piano of Moura Lympany. The recordings, made in the early 1970s, offer a rich perspective on Schubert’s genius, illuminating both the historical context of the works and the interpretative choices made by the performers.
Schubert’s “Death and the Maiden,” composed in 1824, is a profound exploration of mortality and the human condition, encapsulated within the framework of the string quartet. The Gabrieli Quartet’s performance is marked by a commendable restraint that veers away from the excessive expressivity often found in other interpretations. The Allegro, while vigorous, maintains an underlying sense of introspection, particularly highlighted by Kenneth Sillito’s expressive playing at 11:08, where the nuanced interplay between the instruments creates a palpable tension that underscores the work’s dramatic narrative.
The Andante con moto, a lyrical oasis amidst the tempest, benefits from the quartet’s careful attention to tonal shading. The musicians demonstrate a commendable understanding of rubato, enhancing the emotional weight of the music without succumbing to indulgence. While there are moments where intonation falters – a minor concern in the grand scheme – such instances are overshadowed by the overall integrity of the performance. The Gabrieli Quartet’s approach, characterized by flexibility and shading, stands in contrast to more bombastic renditions that prioritize technical prowess over emotional depth. Notably, their interpretation resonates with the spirit of Schubert’s own time, where the balance between sentiment and restraint was paramount.
In juxtaposition, the “Trout” Quintet presents a different challenge altogether. Lympany’s pianism, vibrant and effervescent, injects an immediacy into the performance, complemented by the energetic contributions of the London Symphony principals. The balance, however, occasionally skews towards the piano, rendering the string textures somewhat wiry, especially in the upper registers. This imbalance could be perceived as a flaw, yet it reveals an intriguing facet of the performance: the players’ willingness to engage in a more frenetic dialogue that, while lacking in subtlety, conveys a spirited homage to Schubert’s exuberance.
Comparatively, this recording may not rival the lushness found in the performances of renowned ensembles like the Alban Berg Quartet or the Hagen Quartet, both of which evoke a richer tonal palette and a more profound emotional interplay. However, the Gabrieli Quartet’s commitment to clarity and structure offers an enticing alternative that warrants attention. Indeed, at this super-budget price point, the disc commands a significant presence in the catalogue, especially for the enduring virtues of the Gabrieli performance.
From a technical standpoint, the recording quality reflects the era’s standards, encapsulating the ensemble’s sound with a degree of warmth while inevitably revealing the sonic limitations of the venue. The engineering choices favor the piano in “The Trout,” which can be both a blessing and a curse, as it instills a sense of immediacy yet occasionally overshadows the intricate dialogues among the strings.
Schubert’s legacy, particularly in these compositions, lies in their ability to traverse the spectrum of human emotion—from the haunting gravitas of “Death and the Maiden” to the buoyant charm of “The Trout.” The historical significance of both works cannot be overstated; they mark pivotal moments in the evolution of chamber music, where the interplay of thematic material and emotional depth laid the groundwork for future composers.
In conclusion, this recording serves as a valuable testament to the artistry of the Gabrieli Quartet and their collaborators. While it may not dethrone the titans of Schubert interpretation, its strengths—particularly the nuanced performance of “Death and the Maiden”—ensure that it remains a worthwhile addition to any discerning listener’s collection. The interplay of youthful exuberance and seasoned musicianship creates a compelling narrative that echoes Schubert’s own duality of light and shadow, making this disc a significant artifact from the rich tapestry of classical music history.
