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Schubert: Trout Quintet, Trockne Blumen Variations, Notturno D 897 / Helmchen, Tetzlaff, Et Al


Release Date: 03/31/2009 
Label:  Pentatone   Catalog #: 5186334   Spars Code: n/a 
Composer:  Franz Schubert
Performer:  Martin HelmchenAntoine TamestitChristian TetzlaffAlois Posch,   ... 
Number of Discs: 1 
Recorded in: Multi 
Length: 1 Hours 8 Mins. 

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SuperAudio CD:  $19.99
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Notes and Editorial Reviews

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.


Yes, it sounds crazy to make yet another recording of Schubert's Trout Quintet a "reference recording", particularly given the number of really good ones already in circulation. Never mind. There is no finer performance available, and certainly none better recorded: gorgeous, perfectly natural sound whether in regular stereo or SACD surround-sound. So what makes this performance so special? First, and speaking generally, this has got to be one of the most shapely, elegant, and effortlessly flowing versions ever committed to disc. Every phrase breathes, but in such a way that the
Read more character of the line always supports what the music seems to want to do. The "interpretation" simply dissolves into the pure experience of Schubert.

Getting down to specifics, listen to the marvelously conversational exchanges between violinist Christian Tetzlaff and pianist Martin Helmchen in the opening movement, and the amazingly perfect intonation of all of the string players. Then there's the perfect balance of Alois Posch's double bass, and the wonderful, dreamy quality of the initial presentation of the "Trout" theme in the fourth movement. The players' wide dynamic range lets them wring every drop of energy from the finale without ever forcing the tone, and it's impossible to overpraise Helmchen's sensitivity in both his solo and accompanying roles.

The couplings prove equally inspired, offering the sort of variety that makes this disc ideal for continuous listening. Usually we encounter the "Trockne Blumen" Variations on flute discs, where they either obliterate the inferior junk that accompanies them, or make you want to scream from the aural fatigue of hearing so much other flute music (let's face it: a little goes a long way). Here they make a refreshing contrast, with Aldo Baerten's soft-toned wooden flute marrying beautifully to Helmchen's elegant keyboard artistry. Yes, Baerten breathes a bit heavily from time to time, but it's not really bothersome. With the lovely Notturno an apt and mellow encore, this is surely one of the great Schubert chamber music recordings. You'll love it.

– David Hurwitz, ClassicsToday.com
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Works on This Recording

1.
Quintet for Piano and Strings in A major, D 667/Op. 114 "Trout" by Franz Schubert
Performer:  Martin Helmchen (Piano), Antoine Tamestit (Viola), Christian Tetzlaff (Violin),
Alois Posch (Double Bass), Marie-Elisabeth Hecker (Cello)
Period: Romantic 
Written: 1819; Vienna, Austria 
2.
Introduction and Variations for Flute and Piano in E minor, D 802/Op. 160 "Trockne Blumen" by Franz Schubert
Performer:  Aldo Baerten (Flute), Martin Helmchen (Piano)
Period: Romantic 
Written: 1824; Vienna, Austria 
3.
Notturno for Piano and Strings in E flat major, D 897/Op. 148 by Franz Schubert
Performer:  Marie-Elisabeth Hecker (Cello), Martin Helmchen (Piano), Christian Tetzlaff (Violin)
Period: Romantic 
Written: ?1828; Vienna, Austria 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Caught my attention! May 21, 2016 By P. Ulanowsky See All My Reviews "Here's a very preliminary review, since I haven't even heard the entire recording yet. I happened to tune in, in the car on the way to work a few weeks ago, near the end of the first movement, and got through the middle of the third before having to turn it off upon arriving at the office. I often avoid listening to this piece on the radio, like other favorites, because the performances are boring or start getting manic. This one caught my ear almost immediately, and I found myself increasingly delighted by the transparency, dialogue, and freshness of the performance -- not freshness in the tired, "modern art" sense of arbitrary newness for newness's sake; rather, as if the composition were a process of new discovery (as it should be) for player and audience alike; as if the performers were recomposing the discoveries, the surprising turns-of-corners, the humor, and actually engaging in that new dialogue themselves. While I am always prepared these days for an engagingly-played Classical movement to be followed by some bizarre aberration, as if the composer had suddenly taken leave of his senses, I am for now rather confident that this performance would make Schubert happy till the end. There is something wholly in tune with Schubert's spirit and compositional method that has come across in what I heard, and I am looking forward with anticipation to receiving the copy I just ordered. Perhaps it will take a special place alongside the wonderful Amadeus Quartet+Gilels recording I treasure." Report Abuse
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