Schubert: String Quartets (CD review)

Nos. 13, D. 804 “Rosamunde” and 14, D. 810 “Death and the Maiden.” Quatuor Hermes (Omer Bouchez and Elsie Liu, violins; Lou Yung-Hsin Chang, viola; Yan Levionnois, cello). La dolce Volta 85.

By Karl W. Nehring

My guess is that for most music lovers there are certain compositions that really stand out from the crowd, that really seem especially enjoyable, uplifting, or deeply moving. Over time, however, the set of compositions we have come to hold in such high regard might change as we encounter new composers and undergo life changes that alter our responses to various musical forms and colors. Moreover, when it comes to music that we hold in high regard, that often means, especially early in our classical music hobby, we typically tend to seek out multiple recordings by various artists and ensembles. However, there may come a time later in life that even though we really love certain pieces of music, we somehow relegate them to the background, seldom listening to them, no longer seeking out new recordings, or worse yet, pretty much forgetting about them completely. Sigh…

Such was the case for me with Schubert’s late string quartets when I was blessedly stimulated back into interest and subsequent blissful appreciation for this glorious music by chancing upon this CD at – you guessed it – my wonderful, glorious, resplendent local public library. As with the previous release of piano sonatas I reviewed from the Le dolce Volta label, which also contained exquisite music from late in Schubert’s tragically short career, the physical format of the packaging is that of a small hardbound book, binding together the liner notes in several languages and a slipcase for the disc itself – imposing, classy in its own way, but not without drawbacks. Although the notes offer some interesting insights from the Hermés Quartet in a brief interview, the fact that they are provided in five languages means that they are relatively brief. Interesting, yes, but especially for the novice listener, it would have been nice to have more background information of the composer, the music, and the musicians. Sigh…

But any regrets about the liner notes are soon forgotten upon listening to what these musicians deliver, which is more than 72 minutes of musical splendor. These are two amazing string quartets that plunge the depths of musical and emotional expressiveness. As the liner notes put it, “by turns symphonic in dimension and intimately lyrical, grippingly dark and gently enveloping, these two monuments of chamber music reveal the two faces of Schubert.” You can already sense that conflict between darkness and light, faith and fear, hope and despair, love and loss, or however you might best relate to it, as you listen to even the first few minutes of the Hermés Quartet’s performance, you will experience both dimensions and be drawn into Schubert’s intimate musical world. Although the Rosamunde is generally considered the lighter of the two quartets presented here, it still projects both hope and despair; but as always with Schubert, it does so with melodies that seem to flow from a source of pure beauty. The Death and the Maiden Quartet is so called because the melody of its second movement is based upon a famous song by Schubert (“Der Tod und das Mädchen” in the original German). This quartet has one of those dramatic opening measures that once you hear, as with the opening measure of Beethoven’s 5th, you can never forget. It is a dramatic work, a magnificent symphony for two violins, viola, and cello. If you are unfamiliar with these two superb string quartets by Schubert, this sensitively played and expertly engineered release is highly recommended. Be forewarned, however, that this is music that can break your heart. Sigh…

KWN