Schubert: Octet L'Archibudelli & Mozzafiato
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Music CD Cover
Composer: Franz SchubertPerformer: Charles Neidich
Performer: William Purvis
Performer: Dennis Godburn
Performer: Vera Beths
Performer: Linda Quan
Performer: Jurgen Kussmaul
Performer: Anner Bylsma
Performer: Marji Danilow
Performer: L'Archibudelli & Mozzafiato
Edition: Music CD
CD Release Date: 1996-04-02
Music Label: Sony
Soundtracks:
- Adagio / Allegro
- Adagio
- Allegro vivace
- Andante
- Menuetto & Trio, Allegretto
- Andante molto / Allegro
Free Music Notes for Schubert: Octet L'Archibudelli & Mozzafiato
Free Music Review: The last in a flurry of recordings on period instruments - and a fine one, too
Hit: 5 Stars
Other than a recording made in the late 70s by the grand-pop' of all chamber ensembles performing on period instruments, the Collegium Aureum, on Deutsche Harmonia Mundi (apparently available on CD in Japan), Schubert's Octet had (to my knowledge) remained the exclusive game of modern instrument ensembles until the late 80s. Then within a few years came a spate of recordings on period instruments, starting with the Academy of Ancient Music (Schubert: Octet in F Major D803, L'Oiseau-Lyre, recorded in 1988 but apparently released early 1990), closely followed by the Atlantis Ensemble led by Jaap Schroeder (Schubert: Octet by the Atlantis Ensemble, 1989, Virgin), Hausmusik (Schubert: Octett, 1990, EMI Reflexe, now available in Europe on a cheap Virgin 5 CD box) and Music from Aston Magna (Schubert: Octet Music from Aston Magna, 1991, Harmonia Mundi). I refer you to my reviews of all these. This flurry of recordings was finally topped off a little later by this one, made by the joined forces of L'Archibudelli (the strings ensemble led by the renowned period cellist Anner Byslma) and Mozzafiato (a period wind ensemble founded by clarinettist Charles Neidich) for Sony, in 1995. It is a outstanding version, often highly dramatic and highlighted by vivid, gruff instrumental colors - even by period ensemble standards.
The interpretive values are set from the start, with a forcefully accented first chord, to the point of violence, evoking Beethoven's Egmont overture (this is also the way the Wiener Octet phrased it back in 1957, but that opened a widely different interpretation: Schubert Octet & Mozart Divertimento by the Vienna Octet). The ensuing "Allegro" may not be as animated as some of the competition, but it is forward moving, vigorously accented, dramatic, and highlighted by vivid instrumental colors. The players allow themselves a greater degree of tempo flexibility than one might expect (try the slow down at 4:50). Neidich's clarinet tone production displays a kind of husky plumminess vaguely evocative of the bagpipe, and as some of his period (and sometimes modern) instrument colleagues from other versions, he plays neither the grace note at 2:55 nor the trill at 11:48. I don't know whether this decision spawns from Urtext edition or technical difficulty with the instrument, and likewise I wonder whether his slightly delayed phrasing of his dotted notes at 2:40 are the result of a (not so welcome) interpretive choice or matter resistance. Of note is also the peculiar, reedy tone of the bassoon, and as in other period instrument recordings, bassoon and horn in their little exchange at 13:21 sound so similar as to be almost undistinguishable. All these instrumental peculiarities are what for fans of period instruments add to character, but of course to their adversaries they will only sound dirty. There are after all people who find the original colors of Michelangelo's restored murals on the ceiling of the Sistine Chapel gaudy.
The "Adagio" is very naturally paced (though by modern instrument standards it is rather fast) and though Bylsma's cello is a bit dry in his solo at 6:00, Neidich's clarinet contributes a fine, dreamy atmosphere. The ensemble is also alive to the more dramatic passages of the music (6:53), and the low string pizzicato at 9:46 is muscular and resonant - Mahler wrote pizzicatos like that in his symphonies.
In the hunt-like, quasi Scherzo (3rd movement), tempo is not as brisk as Kremer (Schubert: Octet on DG) or Hausmusik but doesn't linger either and it is vigorously accented, with the raw and gruff instrumental colors bringing to mind the atmosphere of Haendel's Water Music.
Follows one of Schubert's customary theme and variations, in which the theme is taken at a stately tempo and consequently given a rather fussy character, continued in the gallant embroidery of the 1st variation. But things improve from there on, highlights being a strongly accented second variation full of carefree merriment, a forward-moving fourth with Bylsma's somewhat gruff-sounding but nonetheless richly romantic cello, and a fifth which I've never heard so vigorously and dramatically accented, making it sound like an ominous tango. If only for that passage this recording must be heard.
Their Menuetto isn't as animated as Hausmusik's or Kremer's, but it is fortunately far away from the ponderous and soporific gait of Aston Magna, Atlantis and the likes. It is sprightly, march-like and exudes a nice mood of merry and relaxed insouciance. In the coda at 6:11 William Purvis is less than perfect in his natural horn production - as if to let us know that this is for real.
The Finale's slow introduction ("andante molto") is the most violently and dramatically uttered that I have heard, over even Gidon Kremer's ensemble, with chords that sound like cries of despair and revolt. The ensuing "Allegro" is briskly paced, boisterous & ebullient, with the vibratoless strings having a very "baroque" sound indeed (first violin even starts at 1:51 with what sounds like a sul ponticello effect) and the chirruping winds adding their perky humor to the proceeds (3:05).
This fine version doesn't eclipse those by Hausmusik or the Academy of Ancient Music (to limit myself to those on period instruments), but its special qualities do place it among the best.
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