Schubert: Trout Quintet (CD review)

Also, "Arpeggione" Sonata; "Notturno" Adagio. Jos van Immerseel, fortepiano; L'Archibudelli: Vera Beths, violin; Jurgen Kussmaul, viola; Anner Bylsma, cello; Marji Danilow, double bass. Newton Classics 8802087.

I'm sure there are as many "Trout" in the music catalogue as there are fish in the sea. Sometimes we wonder why record companies keep releasing the same warhorses over and over, but in the case Schubert's Piano Quintet in A, D667, one can understand the justification for so many releases. The work continues to sparkle with a freshness that that never fails to enthrall listeners. Regarding the present "Trout," Jos van Immerseel and company recorded it on period instruments some years ago for Sony Classics, and the folks at Newton Classics are now reissuing it in their own transfer. It's a worthy re-release in a crowded and highly competitive field.

Austrian composer Franz Schubert (1797-1828) in his short life wrote some of the happiest, most-felicitous, and most-moving music the world has ever known, with his "Trout" Quintet (written in 1819 but not published until a year after his death) among the most cheerful, and most challenging, of the lot. People called it "The Trout" early on because Schubert based the final movement on a series of songs, lieder, he had written some years earlier, variations known as "Die Forelle" or "The Trout."

Immerseel on fortepiano and the period-instruments ensemble L'Archibudelli provide a lively interpretation of the work, even if one is immune to the charms of period-instruments bands. Note, however, that one would never know this was a period-instruments recording from just reading the jewel box if one didn't notice the word "fortepiano" next to Immerseel's name or already know that Immerseel and L'Archibudelli play on period instruments. Newton Classics say nothing of the matter on the disc, the booklet, or the booklet insert. Of course, you might notice once you started listening to the music: a fortepiano sounds slightly less resonant than a modern piano, and gut strings, period tuning, and older performing practices sound different from modern ones.

Anyway, Immerseel and company take this "Trout" in a more vigorous fashion than most other performers do, with energetic rhythms and sprightly accents well punctuated. While it is hardly the leisurely, charming "Trout" we hear from musicians like Alfred Brendel et al (Philips) or the augmented Beaux Arts Trio (Philips or PentaTone), two of my favorites, Immerseel's reading has its own delights, at least if you like fast speeds. Personally, I prefer the more leisurely approach.

So, just how quick is this reading? The only other period-instruments version I had on hand was from members of the Academy of Ancient Music on L'Oiseau-Lyre, and in every movement Immerseel and his companions are faster. Needless to say, compared to modern accounts, such as those from the aforementioned Brendel and Beaux Arts, Immerseel is practically a speed demon.

Under Immerseel's direction, the first movement, an Allegro vivace, shows much life and animation, while at the same time a sensitive flow of melodies. The next movement, the slow Andante, may not be as graceful as we hear it in many other renderings, but it is still quite lovely and lyrical.

The Scherzo: Presto is particularly forceful, although the actual dynamics--the range between the softest and loudest passages--is not particularly wide, which may be one of the disc's only failings. The performers tend to play almost everything at the same level, without as much contrast as in others' hands. Nevertheless, it is fetching in its way.

The central Variations are as delightful as ever, despite their brisk tempos, and I might say the same for the finale. Schubert's indication for the last movement is Allegro giusto (cheerful, joyful, usually fast, and fitting or just right), which is a pretty general tempo marking, allowing for a lot of interpretative leeway. At least we know Schubert wanted something a little fast and lively, and he gets it here, the performers playing with more-than-enough gusto.

The next of the program's couplings is the Sonata in A minor, D821, for piano and cello, also called the "Arpeggione Sonata" because Schubert wrote it for an instrument called the arpeggione. Unfortunately, shortly after he wrote it the instrument went out of style, and today performers usually play it on the cello. Anner Bylsma plays it on a violincello piccolo. The piece is largely grave in nature, with occasional lighter moments.

The Adagio in E flat, D897, "Notturno," for piano trio that closes the show is sweetly melancholic and regal at the same time. It's a neat combination.

Where this release scores over many of its competitors is its recording, made in July, 1997, in Lutherse Church, Haarlem, the Netherlands. It captures a genuine sense of air and space around the instruments without ever sounding bright, forward, or edgy. Indeed, if it errs at all, it's on the side of being a tad too smooth and warm. The stereo spread is broad enough to indicate a modest distance, yet the clarity and impact of the music never appear too compromised.

I'm not sure how well received this recording of the "Trout" was when Sony first released it, but it certainly deserves this second chance on Newton Classics. It strikes a generally happy chord and brings a smile to the lips.

JJP

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

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It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa