Schubert: Piano Quintet "Trout"; Mozart: Clarinet Quintet
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Music CD Cover
Performer: Julius LevinePerformer: Leslie Parnas
Performer: Harold Wright
Composer: Wolfgang Amadeus Mozart
Composer: Franz Schubert
Performer: Rudolf Serkin
Performer: Philipp Naegele
Performer: Samuel Rhodes [viola]
Performer: Alexander Schneider [violin]
Performer: Isidore Cohen
Performer: Jaime Laredo
Edition: Music CD
CD Release Date: 1990-10-10
Music Label: Sony
Soundtracks:
- Quintet For Piano & Strings In A Major, Op. 114: I - Allegro Vivace
- Quintet For Piano & Strings In A Major, Op. 114: II - Andante
- Quintet For Piano & Strings In A Major, Op. 114: III - Scherzo: Presto; Trio
- Quintet For Piano & Strings In A Major, Op. 114: IV - Tema : Andantino; Variazione
- Quintet For Piano & Strings In A Major, Op. 114: V - Finale : Allegro giusto
- Quintet For Clarinet & Strings In A Major: I - Allegro
- Quintet For Clarinet & Strings In A Major: II - Larghetto
- Quintet For Clarinet & Strings In A Major: III - Menuetto; Trio I; Trio II
- Quintet For Clarinet & Strings In A Major: IV - Allegro con variazioni
Free Music Notes for Schubert: Piano Quintet "Trout"; Mozart: Clarinet Quintet
Free Music Review: A classic "Trout" (and a not so convincing clarinet quintet)
Hit: 4 Stars
Rudolf Serkin's 1967 recording of Schubert's "Trout" quintet from Marlboro has enjoyed since it appeared the status of an all-time classic - and it is easy to understand why: it is a muscular and lively approach, rather broad in the opening allegro vivace, rather brisk in the ensuing "Andante", but always alive to the numerous accents written by Schubert and all the minute details of phrasing and articulation of the score. Serkin's dry tone, clarity of articulation, sparse pedalling and willingness to strike chords as whiplashes rather than as thunderclaps are true to score and particularly effective, and his partners are on the same wavelength. Jaime Laredo, Philip Naegele and Leslie Parnas' gorgeous violin, viola and cello tone produces a profound lyricism in the first movement's violin and cello exchange at 1:50 as well as in the viola and cello cantilena at 1:24 in the second movement. The scherzo (3rd movement) has plenty of bounce and the musicians maintain a commendable unity of tempo in the trio section, imparting it a merry atmosphere. The Finale is the crowning achievement of this recording, with its irresistible, forward-going boisterousness.
Only in the 4th movement, the famous theme and variations from which the quintet derives its name, do I find Serkin and partners' deliberate tempo questionable: it lends a somewhat plaintive, almost maudlin tone to the theme and first two variations - but it is true the accompanying cricket also enhances their pastoral nature! I find here Curzon's livelier, more carefree approach preferable and more suited to the spirit of the piece, in an otherwise not so excellent version. It is also amusing to note that in the recording made two years earlier for Vanguard by Rudolf's son Peter (then 18 years-old), the string band led by veteran Alexander Schneider from the Budapest Quartet (and other associate of the Marlboro festival) adopted the same tempo in their enunciation of the "Trout" theme (see my review). It must have run in the family. The next two variations display a Beethovenian power which, impressive as it is, may not be particularly suited to Schubert, but the lively and light-hearted coda felicitously rounds up the movement.
Despite these reservations this is, indeed, a classic for the ages. The Mozart clarinet quintet that shares the disc, recorded in 1968, is not on the same plane, unfortunately. Harold Wright's clarinet tone is undistinguished, 1st fiddler Alexander Schneider's instrument is given undue prominence by the recording process and has some sour passages in the Menuetto's first trio. In general the sound lacks brilliance and the string ensemble disagreeably sounds as four individuals rather than as an integrated whole. The opening Allegro is taken at a lazy tempo, and the finale with variations displays a kind of pedestrian bonhomie. The Larghetto, though, taken at an animated tempo true to Mozart's indication, is tender and finely nuanced.
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