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Schubert: Octet D 803

Schubert: Octet D 803

1 janvier 1987

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Commentaires client les plus utiles sur (beta) (Peut contenir des commentaires issus du programme Early Reviewer Rewards) 4.2 étoiles sur 5 6 commentaires
0 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 slightly dimmed all stars 15 septembre 2015
Par Jon Miller ('Kirk') - Publié sur
Achat vérifié
I prefer the version of the ASMF /Philips/1977 (not its remake on Chandos despite its considerably eminent personnel). The preference includes the entire
Kremer performance, although the egregiously slow finale is ruinous. Only a guess, but perhaps the all-star, undoubtedly temporary
Kremer ensemble lacked the long term concert and recording experience of the ASMF ensemble. It is also probably not accidental
that my second favorite Octet recording is the 1960 Capitol/EMI version with Berlin Philharmonic members, a group with undoubtedly long
experience together. I would still love this performance to appear on disc, but long for it less because the ASMF version is so
similar to it-both five star versions, I think.
4.0 étoiles sur 5 Schlagoberst! 2 août 2015
Par Henry Raymont - Publié sur
Format: CD Achat vérifié
Sheer delight. But then what can you expect from Schubert in the hand of splendid young instrumentalists....

Basso di Cornetto
1 internautes sur 1 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Schubert's Gran Partita? Dunno about that one . . . . 1 septembre 2015
Par Bernard Michael O'Hanlon - Publié sur
To my mind, nothing better illustrates the gap between Mozart the Demi-God and Schubert the Genius than a comparison of the former's Gran Partita and the Octet of the latter. They're both works of maturity. More than any other composer - well, at least the ones I listen to - Mozart has a unique feel for the sweet-spot of each wind instrument. As such, he elicits more from them in terms of lustre (which is one of the reasons why I assert that the core of K 297b was written by Mozart). Try as they might, composers of the mettle of Haydn, Beethoven, Schubert et al fall short of this exalted standard. A clarinet sounds like a mere clarinet in their hands and without the utter rectitude and glow of Mozart.

The Octet, in my el cheapo opinion, is not an uninspired work even I find it somewhat Biedermeier-ish. And when Mozart lights up the afterburners in K 361, its ordinariness becomes apparent. In its own way, it's like comparing the Hymn to the Holy Ghost (D 964 - in itself, a potboiler) with Ave Verum Corpus (K 618): it's a non-contest. Indeed, I'm hard-pressed to allocate time to the Octet when K 186, K 252, K 375 & K 388 lay claim to my attention, let alone the Gran Partita.

I enjoyed this DG performance where Gidon Kremer is primus inter pares and anchors the ensemble per se. It's a distinguished line-up which maximizes the appeal of this work. As others have remarked, its finale is on the slow side (which is somewhat of a trial). There are no problems with the digital recording from the Eighties. But to what vivid end, I ask?
11 internautes sur 12 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 An outstanding Octet - until its plodding finale 16 novembre 2006
Par Discophage - Publié sur
Format: CD
Gidon Kremer and his partners - among the most active soloists then and still today in Germany and the surrounding countries - made this recording of Schubert's Octet in 1987 during a European tour sprung from Kremer's Lockenhaus festival. It was one of the first to be released on CD, simultaneously with the Academy of Saint-Martin-In-The-Fields' second version on Chandos (Schubert: Octet in F major, D. 803). It is and outstanding interpretation, brisk, strongly accented, with great dramatic impact - but with one restriction, though.

fter a forward-moving and strongly accented first movement "adagio" introduction, the "Allegro" development, taken with its repeat (which wasn't the custom then, probably because of the LP's time limitations - witness the Chandos ASMF), is brisk and vigorous, with great dramatic impact. Kremer and partners take the sublime "Adagio" second movement at a gently flowing tempo and strongly mark the accents when these are called for (try the passage starting at 1:41); the clarinet is very much in the lead in this movement and Eduard Brunner, though he doesn't have a very silky clarinet tone, is capable of fine nuances, with marvelously hushed pianissimos. The movement's other highlights include a movingly lyrical cello at 6:04, the strong accents and dramatic impact in the last section starting at 6:58, and the haunting Berliozian flavor of the closing pages at 9:55, recalling the English horn calls in the slow movement of the Symphonie fantastique.

Unlike many others (and especially the aforementioned ASMF), Kremer and partners' pacing of the third movement is true to Schubert's "Allegro vivace" tempo indication, and the result is affectingly animated and boisterous - though not as boisterous as the period-instrument ensembles Hausmusik (originally on EMI-Reflexe, Octet in F for Strings & Winds, and now collated in a convenient Virgin box, Mozart, Beethoven, Schubert, Mendelssohn, Hummel: Chamber Music [Box Set]) and Academy of Ancient Music (Decca/L'Oiseau Lyre, Schubert: Octet in F Major D803), whose unique "hunt-like" horn color, at a similar forward-moving tempo, conjure wonderful echoes of Handel's Water Music. Unlike them, the Kremer ensemble applies a gentle relaxation of tempo in the middle trio, but retain its preference for strongly marked accents.

In the fourth movement - one of Schubert's customary theme and variations - the theme doesn't linger and is sprightly and spirited in mood. The overall approach is one of forward-moving tempos and sharp accents of great dramatic impact. And for the anecdote: in the first variation Kremer questionably indulges in a schmaltzy portamento - the kind you'd be more likely to hear in summer at the terrace of some Viennese café, integral with the fiddler's vulgar wink. But then - oh well, maybe it's not entirely inappropriate after all: there is something of the Viennese café in Schubert's Octet, isn't there? and I must further confess that Kremer has perverted me here: anytime I listen to another version, I now miss the darn little wink. Anyway, this the only glaring lapse of Kremer's good taste I was able to spot.

Again the Menuetto (5th movement) is forward-moving in the vein of the classic Wiener Oktet from 1957 (Schubert: Octet D803 / Mozart: Divertimento K205) rather than the more relaxed approach of the Fine Arts Quartet (1962 - Boston Skyline, Schubert: Octet In F/String Quartet No.10) or Melos Ensemble (1967 - EMI, Beethoven: Septet & Octet - Mendelssohn & Schubert: Octets - Melos Ensemble of London), and further characterized by vivid instrumental flavor, sharp accents and clear articulation.

This outstanding reading is then topped off by - but no! wait! It is not what you were led to expect. On the contrary, it all goes inexplicably amiss in the finale. After the tremors of a portentous "Andante molto" introduction (echoes of Berlioz, again), developing a great sense of suspense and pent-up drama, Kremer and friends chose a very deliberate tempo in the Allegro development; They are presumably striving for a sense of easy-going bonhomie, but, despite the strongly uttered accents, the effect sounds comically pedestrian (and heavy-footed at that), ponderous, plodding - it conjures images of the hippopotamus wearing its pink tutu, really: a mock imitation of charm. Oh well. I guess you can say it is indeed a very original and unique view of the music. Whether it is musically convincing it is a matter of personal taste after all.
4 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great artistry in a beloved but taxing work 3 janvier 2006
Par Santa Fe Listener - Publié sur
Format: CD
Schubert was the only great composer after Mozart to write a lengthy masterpiee in the divertimento style. Mozart usually kept winds and strings separate in his various serenades and divertimenti, but Schubert combines them, using a full string quartet joined by double bass, clarinet, horn, and bassoon. The result is heavenly in length (61 min.) but taxing on both listener (because of extensive repetitions) and players (because of the deceptive simplicty in the writing).

Therefore the Schubert Octet is rarely experienced as the masterpiece it is, and when there's no conductor, the whole thing can feel rather shapeless. This ensemble from 1987 is centered around the great violinist Gidon Kremer. It is sans conductor, yet somehow the Octet sounds artistically complete. Each instrument plays with real expressivity--nothing is tossed off as mere summer music--and all eight voices join in molding the contour of each movement. My only quibble is that the finale moves at too leisurely pace. But the whole point of the piece is patient delight, so that's not a fatal flaw.

The overall result is a rare thing, perhaps unique, a Schubert Octet that is so gripping musically that the time flies by.
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