Schubert Ensemble

The Octet in F major, D. 803 was composed by Franz Schubert in March 1824. It was commissioned by the renowned clarinetist Ferdinand Troyer and came from the same period as two of Schubert's other major chamber works, the 'Rosamunde' and 'Death and the Maiden'.The Octet boasts the largest scale for any chamber work by Schubert. It is scored for a clarinet, bassoon, horn, two violins, viola, cello, and a double bass. This instrumentation is similar to that of the Beethoven Septet, differing only by the addition of a second violin.

Is there a better trio than the Florestan playing today? All three members are consummate artists, outstanding instrumentalists, and ensemble players to the manner born, but it’s the playing of pianist Susan Tomes that carries these performances to their greatest heights. Since the ensemble is perfectly judged by all concerned, it may seem unjust to single out the playing of one member for special comment, but such is the extreme sophistication, the extraordinary subtlety and the expressive range of this artist that I can see no alternative. The tonal control, the exquisite shaping of phrases, the rhythmical suppleness and structural backbone are of an order seldom encountered in the playing even of many famous soloists. But what renders her playing here still more remarkable is the exemplary precision with which it’s matched to the different sonorities and qualities of attack, so-called, of the string players. And what players they are. For all of the above this is not a pianist-dominated performance, except insofar as Schubert wrote the piece that way.

Hummel and Schubert at their Best Stylistically, Johann Nepomuk Hummel’s music generally stands for the end of Viennese Classicism and the transitional period between this epoch and Romanticism. Hummel composed his Quintet op. 87 in 1802, that is, seventeen years before Schubert wrote his “Trout Quintet” in 1819. The famous chamber music critic Rudolf Felber wrote of Hummel’s work: “The quintet is a masterpiece; the first movement immediately captivates and impresses the listener with its power and passion.

In the Pierre Boulez Saal Opening Concert, Daniel Barenboim, the Boulez Ensemble and renowned soloists are celebrating the idea of what this new concert hall of the Barenboim Said-Academy in Berlin stands for: to create a space where beloved classics, modern masterworks of the early 20th century, and music of our time can be heard side by side and inspire audiences and performers alike.

The 12 Ensemble present 'Death and the Maiden', a powerful and personal journey through an evolving musical landscape that highlights the unique voice and vision of London's pioneering un-conducted string orchestra. With their own arrangement of Schubert's iconic string quartet at its heart, the record features a brand new commission from newly-appointed ROH composer in residence Oliver Leith, alongside a poignant work by Tavener and a tribute to the ensemble's time in Iceland with a heart-felt arrangement of a song by Sigur Rós.

Suffice it to say that these recordings are both classics of the recorded chamber music repertory. The Schubert Octet, the second version recorded by Willi Boskovsky's original Vienna Octet, is one of the great recordings of the octet, surpassed only by the ensemble's earlier mono recording (where more repeats were observed). It is full of life, and was a truly ground-breaking release back in 1957. Decca's recording still sounds wonderful - only a hint of hardness in the violin sound betrays its age. To some listeners the Vienna sound may be an acquired taste, but for me, the Vienna Octet recordings are of great importance both musically and historically.