25. Franz Schubert Quintet in C major
Pablo Casals, Isaac Stern, Alexander Schneider, Milton Katims, Paul Tortelier
“My music is the production of my genius and my misery” – Franz Schubert
Dear reader, we have finally reached the halfway point of our journey listing the top 50 classical recordings of all-time. Number 25 on the list is a recording of Franz Schubert’s Quintet in C major, D.956 played by Pablo Casals, Isaac Stern, Alexander Schneider, Milton Katims, and Paul Tortelier originally recorded for Columbia Masterworks, now Sony. Recorded in 1952 at the Prades Festival, it remains one of the greatest chamber recordings ever.
The Composer
Franz Schubert was born in 1797 in Vienna and died in 1828 in Vienna. In his tragically short life, Schubert became one of the greatest composers of all-time. As the composer Franz Liszt said of Schubert, “...the most poetic of them all.” Schubert lived at the end of the Classical period, and at the very beginning of the Romantic period. At heart, Schubert was a romantic. Schubert was the one mostly responsible for bringing the art of song (lieder) to the forefront of classical music. He produced great works in nearly every genre: orchestral, symphonic, lieder, keyboard, chamber music, choral, and opera. Schubert possessed a tremendous gift for melody and harmony, and he expanded upon the classical forms used primarily at the time.
Schubert played music at home with his family, and eventually was enrolled in a school for young vocalists to sing at the imperial court. Schubert began composing on his own, and some of his songs came to the attention of the director Antonio Salieri (yes, the same Salieri associated with Mozart). He was proclaimed a genius, but after his voice broke he was sent back to his family. His father insisted that he become a teacher and follow in his footsteps. While the young Schubert agreed, at night he would compose furiously. Schubert had composed hundreds of works of many genres before the age of 20.
Schubert eventually staked out on his own, taught some piano lessons, and was commissioned in 1820 to write operas for two of the opera houses in Vienna. Unfortunately, the productions were not well-received perhaps owing to Schubert’s inventive harmonies and breakthrough style which were not accepted yet. He struggled to obtain a contract from any publishers, and even though he published his own works for subscribers, he was barely scraping by financially. Then in 1823, Schubert was elected as an honorary member of the Musikverein in Graz, Austria. While relatively inconsequential in reality, Schubert enjoyed the recognition and took the opportunity to write his famous Unfinished symphony (usually numbered as his 8th symphony). Later, Schubert’s music was featured at a concert at the legendary Musikverein in Vienna, where his music finally received an enthusiastic reception. This may have been one of the few happy times in Schubert’s life, as he soon became ill from syphilis (although it is now thought he actually died from typhoid). A shy, introverted, and humble man, Schubert was often lost in his own thoughts and was known to suffer from depression and even suicidal thoughts. Despite his illness, he continued to compose at an incredible rate. Schubert requested to be buried alongside Ludwig van Beethoven, whom he greatly revered. He was also grateful for Beethoven’s positive reception of his music. Schubert also loved Mozart and Haydn.
Schubert’s greatest works include songs such as Gretchen am Spinnrade (Gretchen at the Spinning Wheel), Erlkonig, Ave Maria (no doubt you have heard), song cycles Die Schone Mullerin (The Beautiful Miller), Die Winterreise (Winter Journey), symphonies 8 and 9 (Unfinished and The Great), the “Trout” Quintet, Quintet in C major, Impromptus for piano, Piano Sonatas, “Death and the Maiden” Quartet, Deutsche Mass, and many others.
Quintet in C major
Schubert composed his String Quintet in C major D. 956 in 1828, which was the year of his death. Although his earlier Piano Quintet in A major D. 667 “Trout” garners more attention (with good reason, as it is a truly delightful work), it is his Quintet in C that is richer and arguably more poignant. One of Schubert’s last compositions, and although written in a major key, it also includes music that could almost be heard as a sad farewell. It captures Schubert in his mature style, highlighting his gift for melody. The first two movements move ambiguously between major and minor keys, and while there is a prevailing positive tone, you can also sense darkness and impending death.
The Quintet in C is relatively unique in using two violins, a viola, and two cellos. Generally string quintets had two violins, two violas, and one cello. The added cello along with the two violins adds a richness of texture that adds to the depth of the sound produced.
The four movement structure used by Schubert is as follows:
Allegro ma non troppo
Adagio
Scherzo. Presto
Allegretto
During the last two years of his life, Schubert composed the Quintet in C major, Symphony no. 9 “The Great”, the song cycle Winterreise, and his final three piano sonatas. It is almost as though Schubert knew he didn’t have much time, and so he made an effort to produce as much as possible.
The Recording
This recording of Schubert’s Quintet in C major was made in July 1952 in Prades, France during the Prades Festival. The Prades Festival was started by cellist Pablo Casals in 1950 to bring together great musicians and friends from all over the world to play music. Casals was a Spaniard, but for many years lived in exile in France in protest of the fascist Franco regime in Spain. For many years he refused to perform in public as a protest, despite the pleas of many. So it was suggested that since he would not perform in public elsewhere, what if everyone else came to his home in Prades? Casals accepted, and the subsequent music making in the summers at Prades became magical. Many famous recordings were made at Prades, with Casals either playing, conducting, or coordinating. This Schubert recording is one of the most beloved recordings from those first years of the festival.
On the recording are some of the most celebrated musicians of the twentieth century: Violinist Isaac Stern (then only 32 years of age, with much of his starry career still ahead of him), violinist Alexander Schneider (good friend of Casals, and member of the Budapest String Quartet), violist Milton Katims (would later go on to be the conductor of the Seattle Symphony for 22 years), and cellist Paul Tortelier (international star cello soloist who revered Casals and learned much from his elder colleague), and then of course Pablo Casals himself. Casals was one of the greatest cellists in history, and was a master at his craft but also at bringing out the best in others. His recording of Bach’s Cello Suites, made between 1936 and 1939, is THE landmark recording of the work. Casals continued playing well into his nineties, and as late as age 93 was known to continue practicing three hours a day!
As for this recording of Schubert’s Quintet in C, the performance is intensely expressive and unapologetically romantic in its vision. Please note the recording shows its age in terms of sound quality, and is not what you would expect from a more modern recording. If you listen closely, you will also hear Casals’ grunting in several places. Indeed, the playing itself is not immaculate. For some, these shortcomings might be a deal-breaker. After all, there are more beautiful versions of this masterpiece. However, for the sheer musicality, charm, emotion, and elan evident, this recording is irreplaceable.
A few highlights from the recording to listen for include:
Allegro ma non troppo - you immediately notice the warm-hearted sound, the lyricism of these musicians, and a sensitivity to each other and to the music. Nothing is rushed, but it feels organic. The passages that grow louder or softer are done very effectively. The playing is touching and sweet-toned.
Adagio - where this recording really shines is in the Adagio, which is exquisitely played. It is warm and gentle, but also yearning with sadness. This is really the emotional heart of the Quintet. The pace set here is pensive, but never too slow. The middle section of anguish and suffering is played here with great poignancy. This could have been Schubert’s requiem of sorts, but then the main theme of consolation eventually returns.
Scherzo. Presto - The jaunty third movement begins with playing of zest and vibrancy. You notice the interplay between the violins and cellos. It is a playful melody. Yet even in this movement the central andante section is more pastoral, relaxed, and even melancholy. There is some really lovely playing here that tugs at your heart. Then the first zesty theme returns again.
The Allegretto finale begins with what is almost a Hungarian theme, sprightly and inflected. The second theme is joyful and playful as well, as Schubert’s more mature harmonies are developed. There is a gentle section which leads back to the Hungarian theme. It all has a sort of Bohemian feel to it, like something you might hear in a street market. Once it reaches the coda near the end, the music speeds up and changes key. We go headlong to the finish, which ends on a fading note that ends in C.
What Casals et al. achieve here is not so much beauty but rather meaning. I think that is why I am drawn to it so strongly. The vigor and liveliness is balanced so well by the sensitivity and phrasing. The Casals Edition of this recording also includes Schubert’s Symphony no. 5 in a 1953 recording from Prades. It is also a delightful performance which inexplicably was never released until 1993. It makes for a highly enjoyable partner to the Quintet, though very different in mood.
As for the Quintet in C major, there are of course several other excellent recordings you may want to hear:
Hollywood String Quartet with Kurt Reher on the second cello, on the Testament label. A classic recording from 1950, it has many of the same assets as the Casals, but is a bit more relaxed. The Adagio in particular is quite moving. It is paired with an outstanding sextet version of Schoenberg’s Verklarte Nacht.
The Melos Quartet with Mstislav Rostropovich on second cello, on Deutsche Grammophon. Recorded in 1978, this beautiful version is broad and dramatic, reconciling the more powerful passages with the more lyrical ones. The repeats are observed (they are not in the Casals version).
Ebene with Gautier Capucon on cello on the Erato label. Released in 2016, this is also a very special recording of this masterpiece. Great sound and tremendous detail add to this group’s innate feel for color and contrast. A real contender.
The Pavel Haas Quartet with cellist Danjulo Ishizaka on the Supraphon label. Released in 2013, and winner of the 2014 Gramophone Award, this recording is phenomenal. Fresh and vibrant, with clean sound, this recording finds the performers with more of a dramatic edge than some others, even pushing the envelope on tempi and emotion. It is a young performance, but really puts a new spin on the piece.
Until next time, enjoy the summer and happy listening!
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Notes:
Brennan, Gerald. Liu, James. Schrott, Allen. Woodstra, Chris. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. Pp. 1194-1195, 1210. Backbeat Books, San Francisco. 2005.
Kozinn, Allan. The New York Times Essential Library Classical Music, A Critic’s Guide to the 100 Most Important Recordings. Pp. 106-107. Times Books. Henry Holt and Company. New York. 2004.
Layton, Robert. Gramophone Magazine. The Hollywood String Quartet. Gramophone online https://www.gramophone.co.uk/review/the-hollywood-string-quartet
https://en.wikipedia.org/wiki/Pablo_Casals
https://en.wikipedia.org/wiki/Isaac_Stern
https://en.wikipedia.org/wiki/Alexander_Schneider