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Hi to all,Has anyone done this wonderful late quintet on original isntruments yet?
Maybe the Smithsonian's have?
TIA.
Warmest
Tim Bailey
Follow Ups:
There is an excellent recording by L'Archibudelli on the Sony label. It features Vera Beths and Anner Bylsma, played on modern Stadivari instruments from the Smithsonian. They perform at A 390 and use gut strings. At the time Schubert wrote his quintet the string instruments were already "modernized" or going through the process.The sensibilities of this recording should fulfill your need for a period instrument performance.
it isSony Vivarte - SK 46669
Tim Bailey.
Gutman,can you give me the Sony Vivarte catalogue number for the String Quintet in C Major D956.
'cos there is a version of the trout - the piano quintet. even on Google i couldn't find the d956.
But, you may well be right.
I did find another on HMU's Arcana label with the Festetics Quartet plus Wieland Kuijken on Cello. Arcana A308.
Tim Bailey
Gutman,Tah muchly,
I will try to find it and give it a listen rather than ordering it on spec. But I like these guys, have one or two of their CD's.
Tim bailey
Hey guys,Please tell me your favourites and why.
It has to be in stereo, and the recording natural, or at least 'not intrusive'.
Warmest,
Timbo
Aren't "original" instruments a bit scratchy and unpleasant? Perhaps, by the time of Schubert they were basically the same as what we have today anyway, so what would be the gain?Are you familiar with the wonderful Casals on Sony or the Hollywood on Testatment? No's 1 and 2 respectively in my book.
I can understand someone wanting a better recorded version than either of the above for sound quality. But why "original" instruments?
It astounds me how some pieces of received "wisdom" simply refuse to die: Yours is a complaint I haven't seen in years. If all, or even most, original instrument recordings sound scratchy and/or unpleasant on your system, there is a problem there, not with the recordings. Labels such as Harmonia Mundi, Astree, Audio Vox, Reference Recordings, Archiv & others, consistently turn out CD's that don't even come close to fitting your description, either as to performance or to sound quality. If you persist in this misguided notion, you are missing a treasure house full of wonderful performances by some of the great interpreters of Early, Baroque, and Romantic music.
Look, I have the Kuijken Bach sonatas and partitas and many other recordings by Harnoncourt, Hogwood, Pinnock and others. Excellent renditions in many cases. The Baroque violin of Kuijken certainly adds something. Yes, it was a bit unpleasant with lower quality components. Even higher quality components don't totally ameliorate a,for me, somewhat irritating quality. Non gustibus disputandum, eh?The guy answered that he felt the baroque instruments more clearly delineated the voices. Good answer. Doesn't mean I'd accept his answer as a generic for all works of all composers by all "authentic" groups.
I can understand wanting to hear the occasional Baroque piece on period instruments just for variety's sake, but beyond that I don't understand the whole movement, personally. Give me Bach on the piano instead of the harpsichord every time. But if you need the Schubert Quintet, have you tried one of those Google searches, you can usually come up with anything using Google.
Something different? The idea that the rougher sounds give more indivuality to each instrument has its points, IMO. Whether or not anyone "likes" these sounds is something else.I jumped on the period instrument thing early with Harnoncourt and then Hogwood and later Pinnock. There are still a few Harnoncourt and Pinnock recordings I like. Another period guy I like is S. Kuijken on the Bach violin sonatas and partitas. Very fine performance--sound? Yes, if you don't mind the baroque violin. I've been wondering about how Manze sounds. Not sure he could be special enough for me to dup or triplicate some of these performances.
Agree, most harpsichord recordings are irritating for a whole CDs worth. I like Gould on Bach's piano. Dry, little pedal and excellent counterpoint.
Sounds as though you already have a sizable collection, but there are a couple of Andrew Manze items that are a bit off the well-beaten Baroque path: The Violin Sonatas of Pandolfi and Tartini's The Devil's Trill, both, I believe, on Harmonia Mundi. I'm not sure how easily these first-rate pieces might be found recorded on modern instruments-but on the other hand Manze's work probably won't do much to change your view on period instruments either!
EDTA!Hi man,
YMMV,
I find original instruments more expressive and more differentiated, most of the time. especially with wod wnds contrasting with strings, but even among two violins, viola, two cellos as here.
They are thus usually less homogenous, so the expressive interplay is easier to follow.
Just frankly, I think a lot of this has to do with the recording technique, as well as people's expectations, prejudices, and their systems upper midrange and treble performance. Hyperion's chamber recordings are excellent esp. the fortepiano trios.
I would also recommend that you try to hear anything the Smithsonian Quartet have done. One of them has a Stainer! Rare as and famous back then, the Mozarts had a set of violin and viola, Bach preferred them too.
Listen to Brahm's German Requiem with Gardiner and compare it to any other, it is a very good performance but different, and deeper too, IMO.
I also like to hear HIP approaches on modern instruments. I have only recently heard this piece again live, played by the principals and seconds from the ACO, they used a good deal less vibrato and rubato than I had anticipated and it was very, very good.
Very moving piece isn't it? I do not think I could listen to it often.
While the concave (Tourte ?) bow had definitely arrived not all players used them and very few of the other changes were common: Viz, along with higher string tension, a higher bridge, longer finger board, longer bass bar and thicker sound post.
The way great 17-18C string instruments responded to these modifications determines their heirarchy today, not their very different heirarchy then. Most Amatis and del Jesu's did not (et al), and some were ruined, most Strad's did respond well, 'cos he was heading in this louder direction anyway. Any Stainer's that this was done too were ruined, many were never returned to original and are now lost.
The orchestral instruments of Mahlers' time were also still diffferent to today's.
Still, I would rather have a recording of this piece than not though.
Timbo
Thanks, now I have a yen to hear something by the Smithsonians.
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