Tod 8

Im Februar und Mдrz 1824 war Schubert in einer Art Schaffensrausch «unmenschlich fleissig» (Schwind). Neben dem am 1. Mдrz beendeten Oktett kьndigt er drei Streichquartette an. Nur das a-moll-Quartett erlebt am 24. Mдrz seine Urauffьhrung und erscheint im Druck. Doch auch das d-moll-Werk muss damals entstanden sein, wird aber erst 1826 geprobt (Schubert nimmt dabei noch Korrekturen vor) und am 1. Februar erstmals aufgefьhrt. Hat Schubert das dьstere Werk – alle vier Sдtze stehen in Moll – wegen seiner Kьhnheit zurьckbehalten? Denn was er im Harmonischen und mehr noch im Ausdruck erreicht, ist selbst im Vergleich mit Beethovens Spдtwerk neuartig.

Reiner's classic account of Tod & Verklärung is no doubt one of the most sublime and richly expressive versions on record, and can stand test of time, a kind of performance which never loses freshness. Each time you listen, there's something new to discover.

A stunning version of Schubert's famous 'Death and the Maiden' String Quartet performed on period instruments by one of the leading string quartets of our time, the Quatuor Mosaïques. The 'String Quartet No.14 in D Minor', otherwise known as The Death and the Maiden, is considered one of the pillars of the chamber music repertoire. It's a work that shows Schubert struggling in a world in which he has a lost his bearings, but also yearning for heaven. It is his testament to death. This release also features one of Schubert's earlier quartets, the deeply foreboding D173 in G minor.

These are studio recordings, dating from 1985 and completing a series begun in the late 70s with the C-major quintet and pursued in the early 80s with the 15th quartet and the "Trout" quintet. The "Death and the Maiden" here is not to be confused with the later, live recording made by the ABQ and released in 1998 - which I haven't heard, but which received warm reviews.

Karajan recorded Tod und Verklärung 3 times; 1960 with Vienna Philharmonic, 1971 and 1982 with Berlin Philharmonic. This is the second recording in 1971. The conductor extracts every detail of Strauss’s orchestration in a brilliant intensity. From the pianissimo in the opening to the climax near the end, the 100% engaged orchestra vividly expresses the transfiguration.