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Schubert - Octet (The Gaudier Ensemble)

Recorded 2001 | Released 2003

The Gaudier (...) are anything but perfunctory. Their line is curvaceous and malleable with a dynamic range that contains many shades of softness. Engineer Tony Faulkner has helped by using the ambience of the Henry Wood Hall to create both a blend and a distinctiveness of timbre. There's a glow to the sound that other versions don't have. The Gaudier's control over the grading of tonal intensity draws attention to the many passages in this work that are written piano or pianissimo; and where leavened by hairpin accents, stabbing sforzandos and even fortissimos they supply necessary impact without being crude. If there's one movement that encapsulates all that's striking about this performance, then it's the fourth – an Andante with seven variations. Here's an example of how these musicians balance themselves, and how they've thought about the different facets of the music. Were he alive today, this recording might even persuade Schubert scholar Maurice JE Brown to change his mind about the seventh variation, which he described as 'a distasteful episode'. (Gramophone "Editor's Choice")

Personnel:

The Gaudier Ensemble

Recording:

21-23 December 2001, Henry Wood Hall, London

Hyperion CDA67339

Info (Hyperion):

The Gaudier Ensemble’s latest recording proffers one of the most popular works in the chamber music repertoire, and one of Schubert's best-loved masterpieces. In 1824 it was suggested that Schubert should write a work similar to Beethoven's Septet [also recorded by the Gaudiers for Hyperion]. He subsequently approached the project with such enthusiasm and concentration that a friend wrote of him 'If you go and see him during the day he says "Hello. How are you?" and carries on working, whereupon you leave'. Schubert added a second violin to Beethoven's scoring for clarinet, bassoon, horn, violin, viola, cello and double bass, but adhered to the Septet's movement structure and key sequences almost entirely. However, the melody and beauty that infuse the Octet is quintessentially Schubert, and justify the work's enduring popularity. Here are outstanding performances from an ensemble that draws together some of the most distinguished musicians in Europe.

Track listing:

1. Octet in F, D.803: I. Adagio - Allegro

2. Octet in F, D.803: II. Adagio

3. Octet in F, D.803: III. Allegro vivace

4. Octet in F, D.803: IV. Andante

5. Octet in F, D.803: V. Menuetto: Allegretto

6. Octet in F, D.803: VI. Andante molto - Allegro

Reviews:

BBC Music Magazine

This is hard. The Gaudier Ensemble’s first recording of the Schubert Octet on ASV was much praised when it first appeared, and over a decade later it still sounds like a front-runner. The poetry, refinement and superb sense of the long singing line are as impressive as ever – the sixth variation of the Andante has an almost timeless loveliness, while the dark, minor-key introduction of the finale is unusually gripping. But this new Hyperion version has its special qualities, too. I suppose it depends what you want from the Octet: whether you value the work as an important stage on what Schubert himself called the ‘way to a grand symphony’ or it remains pre-eminently a piece of large chamber music: Romantic, expansive, but intimate in its pleasures. If the former, then stick with the old ASV version; if the latter, then the new Gaudier is more likely to be the one for you. Here the playing – helped by the less glamorously spacious recording – draws the attention in towards details. The sense of purpose is still strong, but the effect is more quick-witted, with a finer sense of inner tension – the players responding minutely to each other. It can’t just be the new personnel among the top three string parts; there also seems to have been a change in the other players’ understanding of the piece. On the down side, the new version is never quite as breathtakingly beautiful as the old one; on the plus side, it’s more consistently compelling, the beauty less generalised. Take your pick. If forced, I’d choose the Hyperion, but by the thinnest whisker.

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