Desert Island Classics #3
Franz Schubert Piano Quintet in A major “Trout”
Franz Schubert was the greatest composer of German lied (song), and he composed the song Die Forelle (“The Trout”) 1817 for solo voice and piano. The song tells the story of a trout being caught by a fisherman, but the actual meaning of the song was a warning to young women to guard against young men. Schubert was to make several edits, and eventually it could be sung by a woman or man. But the song was so tuneful and popular that Schubert received a commission from a wealthy patron to develop it into a set of variations.
Schubert embarked on composing a piano quintet which incorporated Die Forelle and variations as the fourth movement. This quintet was unusual, in that it used piano, violin, viola, cello and double bass rather than the standard piano and string quartet. Schubert completed it in 1819 at the age of 22 (sadly Schubert would die in 1828 at the age of 31). However, the quintet would never be published in his lifetime, only being published in 1829, a year after his death. The nickname, of course, comes from the melody of the song Die Forelle included as the lyrical fourth movement.
Thus it was that what we now call the Trout Quintet began its life, and oh what a life it has been for this ever popular piece of chamber music. Undoubtedly one of the most melodic, accessible, and purely enjoyable pieces of music ever written, it is also an important work in the sense that Schubert made use of innovative harmonic structures, chromaticism, and the way the piano is interwoven with the strings, and in particular the violin.
It is an intimate work, and something it would make sense to hear at a dinner party, or in someone’s home. This music is so delightful as to completely disarm the listener, so the only thing to do is sit back and enjoy. As Michael Clive, annotator for the Pacific Symphony says:
“Is there a more self-effacing genius in the history of music than the great Franz Schubert? Cheerful and unassuming, he viewed as a blessing any opportunity to bring the enjoyment of music to any listener…Now-legendary tales of his scrawling songs on napkins (he wrote over 600 of them) suggest a Mozartean divine child channeling beautiful melodies from God.”
What Schubert taps into here is musical language that everyone can understand, as we immediately sense its charm, radiance, and sunny disposition. This is different from much of Schubert’s music, which often contained tragic undertones and conflict. But the Trout is feel-good music, and we don’t need any excuse to enjoy it.
The quintet consists of five movements:
Allegro vivace (A major)
Andante (F major)
Scherzo: Presto (A major)
Andantino – Allegretto (D major)
Allegro giusto (A major)
Alex Burns, in his excellent summary of the Trout, explains each movement:
I. Allegro vivace
The opening movement is set in sonata form, which was common practice for the time of composition. By far the longest of all five movements, this opening movement sets the tone of the whole quintet. What makes this particular quintet exciting is Schubert’s innovative harmonic writing. Instead of just adhering to expectant tonic and dominant shifts in the structure, he also uses mediants and submediants to create musical color and excitement.
With abrupt harmonic shifts the music quickly moves through each section of the form. The end of the exposition section ends in E major and suddenly switches into C major for the development section. This keeps the music exciting and the listener on the edge of their seat as to what might happen next.
The violin and piano dominate the melodies of this movement, with the other strings playing a much more accompaniment-led part. The instruments intertwine and create colorful patterns of music that just fizz with classic Schubert flair.
II. Andante
The expressive second movement, marked ‘Andante’, is composed of two symmetrical sections. The second section is a transposed version of the first, which again exploits Schubert’s developmental harmonic language. The movement ends in the key that it started in – F major – however the journey between the two is full of twists and turns. Again, the violin and piano take dominance over the melodic material, with the others accompanying off-beats and constant quaver movement.
III. Scherzo: Presto
The spritely third movement is the one that doesn’t quite follow the unifying theme idea. There is a lot of call and response happening in this movement between the upper and lower instruments which creates drama in the music. Schubert’s use of dynamics in this movement is also pertinent, with unifying moments being louder than the more solo-led passages. The fun-loving melody keeps returning, creating a sense of familiarity for the listener.
IV. Andantino – Allegretto
The much-anticipated fourth movement is a theme and variations on Schubert’s Die Forelle. The variations take the original melodic content and use decorations such as trills and mordents to create the variations. The theme is passed around each instrument with each member of the quintet portraying a variation.
Schubert varies the mood for each of the variations. For instance, the opening violin variation is much more solemn than the perky piano variation after it. After continually modulating, the movement unifies the instruments at the end to finish in the opening key once more.
V. Allegro giusto
Similarly to the second movement, the finale movement also has two symmetrical sections. Again, Schubert utilizes harmony in this movement and soon begins to move around various keys, which was largely contradictory to the usual Classical style. You can hear lots of call and response between the instruments, with particularly important lines being emphasized by the whole quintet.
A cascading piano motif ends up being a quasi-cadenza as the instruments soon jump back in to create an exciting polyphonic texture. The finale movement ends with contrasting loud and quiet call and responses between the quintet before they unite for the grand last three chords.
Desert Island Recording
I’m not sure there are any actual trout near your desert island, unless it is in the middle of a lake, but nevertheless there is one recording that absolutely should be with you on the proverbial desert island: the Trout Quintet performed by the great pianist Clifford Curzon and members of the Vienna Octet, recorded by Decca in 1957 in the warm acoustic of the old Sofiensaal in Vienna. There is an intimacy to this recording that feels as though you are sitting among the musicians, and you can literally hear the resin on the strings being played. The piano is slightly recessed, but Curzon adds color and personality aplenty, though he is also refined and aristocratic. There are many examples of personality and wit, and when the crescendo happens in the first movement we feel the tension before a delightful and sparkling allegro. The group also knows when to pull back, and their tenderness and emotion is unmatched, but when things accelerate again we hear the passion and urgency. This group is in no hurry, and that is all the better in order to savor every note. The wonderful Willi Boskovsky from the Vienna Philharmonic on violin is a treat to hear. From a sound quality point of view, there is some lack of depth, especially with the lower strings. But this is more than compensated for by the lyricism of the entire recording. You are unlikely to ever hear the fourth movement variations done with more style, elegance, and warmth than it is here.
In summary, this is a radiant, charming reading full of spontaneity, but without the eccentricities or inconsistencies of other recordings. It has stood the test of time.
Recommended Recordings
Legendary Russian pianist Emil Gilels recorded the Trout Quintet with the Amadeus Quartet in 1976 for the Deutsche Grammophon label. Gilels is simply terrific here, perhaps not quite as warm as Curzon, but more impressive overall in his grandeur, phrasing, and energy. Overall the sound is better than in the Curzon account, and the group has a more consistent forward momentum. The balance is exceptional with how the strings and piano are kept in perspective. If the Curzon version is more “romantic” in nature, this one is more “classical” in its approach. In the Scherzo, the way the violin articulates some of the notes is off-putting to me personally. Nevertheless this is very appealing, especially for the excellent contributions from Gilels.
Rudolf Serkin was one of the greatest pianists of the 20th century, and his recording of the Trout from the Marlboro Music Festival, recorded in 1967 by CBS/Columbia (now Sony) remains one of the best accounts overall. He is joined by violinist Jaime Laredo, Julius Levine, Leslie Parnas, and Phillip Naegele. There is a great deal of joy and sparkle to this performance, and the Scherzo and Finale especially are played with freshness and confidence. I admire how cohesive the group is, but Serkin and Laredo stand out for their brilliance. The sound is not ideal, with some thin sound at the top that gives the violin and viola an astringent quality. But the engaging quality of the performance trumps those reservations.
One of the most enjoyable versions of the Trout Quintet is with Martin Helmchen on piano, Christian Tetzlaff on violin, Antoine Tamestit on viola, Marie-Elisabeth Hecker on cello, and Alois Posch on double bass, recorded by the Pentatone label in 2008. The recorded sound is crystal clear, and has great presence. More than that, this is an outstanding performance in every way. Helmchen distinguishes himself as a pianist of rare sensitivity, and Tetzlaff’s violin is one of the best on record. The first movement is crisp, delicate, lilting, and exciting. The strings are gorgeous, and Helmchen is simply superb. It is like the music breathes and flows, and I admire the vibrancy, wit, and personality of this performance. The Andante presents an exquisite depth of feeling, the Scherzo is playful and light on its feet without feeling rushed. The fourth movement Variations are joyful and spirited while not missing the tenderness, while the Finale is terrifically accented and shaded. This is extraordinary music making.
In 1996 when Sony released the recording of the Trout Quintet with the starry lineup of Yo-Yo Ma, Emmanuel Ax, Pamela Frank, Rebecca Young, and Edgar Meyer (with the song Die Forelle added as a bonus sung by the incomparable Barbara Bonney), I have to admit I did not take it seriously because I thought it might be too gimmicky. I was wrong. The sound and balance of instruments is nearly perfect, and there is a sense of atmosphere around the recording. The articulation is light and buoyant, with Ax on piano and Frank on violin leading the proceedings with a lovely singing tone. Tempos are well-thought out and dynamic changes are very effective. The crescendo in the first movement is impactful and just right, and I can sense how the music really communicates with the listener. The second movement is wistful, romantic, and graceful. The phrasing is unified and expressive, but not sappy. The Scherzo is exuberant, lively, and infectious, played with true verve. It is one of the fastest Scherzos you will hear, and while I prefer some more air around the notes, this is undeniably exciting. The Variations are heartfelt and tender, and the Finale has a sense of flow that leads to a satisfying conclusion. One of the best versions available.
A more recent recording, this from 2021 on the Alpha label, comes to us from the Busch Trio joined by Daniel Palmizio and Naomi Shaham, and this is truly something special. The sound is warm and detailed, and the musicianship is top-notch. We hear a balance between emotion and clear-headed analysis which leads to a thoroughly enjoyable listening experience. The first movement has momentum and drive without being in a hurry, and we feel the adrenaline in the crescendo as the phrasing, structure, and pulse are superb. This group has obvious affection for Schubert, and they are able to communicate so well. In the second movement one notices the beguiling pianism of Omri Epstein, and the pure tone of the violinist Mathieu Van Bellen. They play seamlessly as an ensemble, there are no superstar soloists and that is all to the good. The Scherzo is well-nigh perfectly paced, with great detail and cohesion. The Variations are light and nostalgic, and the ensemble subtly increases the tempo to excellent effect, with special credit to Epstein on piano. This is what real chamber music sounds like, and so much of Schubert’s writing is revealed wonderfully. Altogether this is a delightful recording in every way.
The only period instrument entry in the top recommendations is the 1998 recording by Jos van Immerseel on fortepiano, Anner Bylsma on cello, and L’Archibudelli Trio on the Sony label. While I remain unconvinced about the Trout on period instruments, this performance goes a long way toward making the case. There is a lightness to the sound, maybe a bit underweight in some places, and the fortepiano has less resonance than a modern piano. The strings are rather astringent as is typical with period instruments, but rhythms are freshly sprung and dance-like. Bylsma creates a lovely tone. Even though the tempo is quick, it is never breathless or forced. This is a very engaging performance, with dynamics attended to nicely as well. You will notice a distinct lack of vibrato as with period performance practice, but even so the musicians are able to express a wide range of feelings and color. The Scherzo is quite enjoyable, the Variations bring to mind flowing water with Immerseel absolutely sparkling here, and the Finale is jaunty and joyful in character. Recommended.
Next is the 1998 recording by the Leipzig String Quartet and pianist Christian Zacharias on the MDG label. The sound is rather bright and up-close, with a wide dynamic range, but has good presence. Zacharias is the real leader here, his playing has sparkle and personality. In addition, the piano and strings are well-balanced together and the depth of tone is attractive. There is a sense of purpose and flow, but they also stop to smell the roses along the way. With a consistent pulse, the lower strings are heard quite well. The first movement crescendo leads to a lively and engaging section that is really delightful. The second movement is relaxed and pastoral in quality, and the ensemble blends uniformly to produce a remarkable sound. Andreas Seidel on violin is particularly lovely. Zacharias is able to increase tension, and then pull back when needed. It is a joy to hear such committed playing with full climaxes matched by breathtaking pianissimos. The Scherzo has a bounce and a noticeable “thump” to it, this is fun music played in a seriously concentrated manner. The Variations are slower and languid, but when the piano enters things pick up considerably with more lyricism. The middle variations are a joy to hear, with the players relishing every moment. In my notes I wrote, “...has this movement ever been done with such understanding of the character of this music? Has it ever been done with such maturity, aplomb, and joy?” I love this recording.
Finally in the recommended category is the 1976 recording by the Beaux Arts Trio along with Samuel Rhodes and Georg Maximilian Hörtnagel. This is the closest thing in my mind to what Curzon and team achieved, but with better sound. There is lovely, creamy string tone together with pointed accents, buoyancy, and a leisurely pace. The sound is full and clear, and it is well-balanced. The Andante and the Variations play to the group’s romantic strengths, and the fluidity, depth, and warmth are palpable. This is sublime musicianship, not high on the exciting scale, but certainly charming and moving. The playing is refined and noble, with Pressler on piano in particular very effective in setting the tone. They take us on a journey, and it is thoroughly delightful and idiomatic for Schubert. When a cohesive group such as the Beaux Arts, caught in their prime, comes together for such a wonderful work, great things are expected. They certainly deliver.
Historic
Legendary pianist Arthur Schnabel and the Pro Arte Quartet on Warner, in a recording from 1935, obviously have sound limitations. Still this is playing of tremendous grace, spontaneity, and feeling. The sound is remarkably good for its day, and Schnabel is in excellent form. The Pro Arte group was known for more romantic repertoire, while Schnabel was more known for his interpretations of classical composers. But it turned out to be a good match, with all involved sensitive to the others. The phrasing is a constant delight, and while the playing is by no means flawless, this is an important historic document of a highly enjoyable performance.
Notes on other recordings
Other recordings you may want to hear are listed below. Although none of them reach the heights of those above, each has something special to offer. If a recording is not listed, it was ultimately not competitive due to sound or performance, or both.
Sviatoslav Richter and the Borodin Quartet - Warner, 1980.
Jeno Jando and the Kodaly Quartet - Naxos, 1991.
Frank Braley, Renaud Capucon, Gautier Capucon, Gerard Causse, and Alois Posch - Erato (Warner), 2004.
James Levine, Wolfram Christ, Gerhart Hetzel, Georg Faust, Alois Posch - DG, 1993.
Christoph Eschenbach and the Koeckert Quartet - DG, 1965.
Christoph Eschenbach and the Thymos Quartet - Avie, 2020.
Peter Serkin and the Tashi Quartet - RCA, 1977.
Lamar Crowson and the Melos Ensemble - Warner, 1967.
Alfred Brendel, Thomas Zehetmair, Tabea Zimmerman, Richard Duven, Peter Riegelbauer - Decca, 1995.
I have not heard one highly acclaimed recording by Pinchas Zukerman, Yefim Bronfman, Jethro Marks, Amanda Forsyth, and Joel Quarrington on Sony/BMG from 2008.
Well folks, thank you for making it to the end of this post on Schubert’s Trout Quintet. As you can see, it is well represented on record and I hope you are able to find one or more recordings to enjoy. I’m looking forward to seeing you here next time. Thank you for reading!
https://classicalexburns.com/2022/01/01/franz-schubert-trout-quintet-fabulous-fish/
Chusid, Martin. "Schubert's chamber music: before and after Beethoven". In Gibbs (1997).
Clive, Michael. Franz Schubert: Piano Quintet in A Major, “Trout”. Program Notes. Pacific Symphony. 2021-2022 Cafe Ludwig Series. February 20, 2022. Pp. 2-3.
Gibbs, Christopher H. (April 1997). "German reception: Schubert's 'journey to immortality'". In Christopher H. Gibbs (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. United Kingdom: Cambridge University Press. ISBN 978-0-521-48424-4.
Hirsch, Marjorie Wing (1993). Schubert's Dramatic Lieder. Cambridge: Cambridge University Press. ISBN 0-521-41820-8.
Notley, Margaret. "Schubert's social music: the 'forgotten genres'". In Gibbs (1997).
https://classicalexburns.com/2022/01/01/franz-schubert-trout-quintet-fabulous-fish/
https://en.wikipedia.org/wiki/Die_Forelle
https://en.wikipedia.org/wiki/Trout_QuintetI’m not sure there are any actual trout near your desert island, unless it is in the middle of a lake, but nevertheless there is one recording that absolutely should be with you on the proverbial desert island: the Trout Quintet performed by the great pianist Clifford Curzon and members of the Vienna Octet, recorded by Decca in 1957 in the warm acoustic of the old Sofiensaal in Vienna. There is an intimacy to this recording that feels as though you are sitting among the musicians, and you can literally hear the gut on the strings being played. The piano is slightly recessed, but Curzon adds color and personality aplenty, but he is also refined and aristocratic. There are many examples of personality and wit, and when the crescendo happens in the first movement we feel the tension before a delightful and sparkling allegro. The group also knows when to pull back, and their tenderness and emotion is unmatched, but when things accelerate again we hear the passion and urgency. Still, this group is in no hurry, and that is all the better in order to savor every note. The wonderful Willi Boskovsky from the Vienna Philharmonic on violin is a treat. From a sound point of view, there is some lack of depth, especially with the lower strings. But this is more than compensated for by the lyricism of the entire recording. You are unlikely to ever hear the fourth movement variations done with more style, elegance, and warmth than it is here.
In summary, this is a radiant, charming reading full of spontaneity, but without the eccentricities or inconsistencies of other recordings. It has stood the test of time.
Recommended Recordings
Legendary Russian pianist Emil Gilels recorded the Trout Quintet with the Amadeus Quartet in 1976 for the Deutsche Grammophon label. Gilels is simply terrific here, perhaps not quite as warm as Curzon, but more impressive overall in his grandeur, phrasing, and energy. Overall the sound is better than in the Curzon account, and the group has a more consistent forward momentum. The balance is exceptional with how the strings and piano are kept in perspective. If the Curzon version is more “romantic” in nature, this one is more “classical” in its approach. In the Scherzo, the way the violin articulates some of the notes is off-putting to me personally. Nevertheless this is very appealing, especially for the excellent contributions from Gilels.
Rudolf Serkin was one of the greatest pianists of the 20th century, and his recording of the Trout from the Marlboro Music Festival, recorded in 1967 by CBS/Columbia (now Sony) remains one of the best accounts overall. He is joined by violinist Jaime Laredo, Julius Levine, Leslie Parnas, and Phillip Naegele. There is a great deal of joy and sparkle to this performance, and the Scherzo and Finale especially are played with freshness and confidence. I admire how cohesive the group is, but Serkin and Laredo stand out for their brilliance. The sound is not ideal, with some thin sound at the top that gives the violin and viola an astringent quality. But the engaging quality of the performance trumps those reservations.
One of the most enjoyable versions of the Trout Quintet is with Martin Helmchen on piano, Christian Tetzlaff on violin, Antoine Tamestit on viola, Marie-Elisabeth Hecker on cello, and Alois Posch on double bass, recorded on the Pentatone label in 2008. The recorded sound is crystal clear, and has great presence. More than that, this is an outstanding performance in every way. Helmchen distinguishes himself as a pianist of rare sensitivity, and Tetzlaff’s violin is one of the best on record. The first movement is crisp, delicate, lilting, and exciting. The strings are gorgeous, and Helmchen is superb. It is like the music breathes and flows here, I admire the vibrancy, wit, and personality of this performance. The Andante presents an exquisite depth of feeling, the Scherzo is playful and light on its feet without feeling rushed. The fourth movement Variations are joyful and spirited while not missing the tenderness, while the Finale is terrifically accented and shaded. This is extraordinary music making.
In 1996 when Sony released the recording of the Trout Quintet with the starry lineup of Yo-Yo Ma, Emmanuel Ax, Pamela Frank, Rebecca Young, and Edgar Meyer (with the song Die Forelle added as a bonus sung by the incomparable Barbara Bonney), I have to admit I did not take it seriously because I thought it might be too gimmicky. I was wrong. The sound and balance of instruments is nearly perfect, and there is a sense of atmosphere around the recording. The articulation is light and buoyant, with Ax on piano and Frank on violin leading the proceedings with a lovely singing tone. Tempos are well-thought out and dynamic changes are very effective. The crescendo in the first movement is impactful and just right, and I can sense the music really communicating with the listener. The second movement is wistful, with romantic ardor, and graceful. The phrasing is unified, expressive but not sappy. The Scherzo is exuberant, lively, and infectious, played with true verve. It is one of the fleetest Scherzos you will hear, and is just downright fast. I prefer some more air around the notes, but this is undeniably exciting. The Variations are heartfelt and tender, and the Finale has a sense of flow that leads to a satisfying conclusion. One of the best.
A more recent recording, this from 2021 on the Alpha label, comes to us from the Busch Trio joined by Daniel Palmizio and Naomi Shaham, and this is truly something special. The sound is warm and detailed, and the musicianship is top-notch. We hear a balance between emotion and clear-headed analysis which leads to a thoroughly enjoyable listening experience. The first movement has momentum and drive without being in a hurry, and we feel the adrenaline in the crescendo as the phrasing, structure, and pulse are superb. This group has obvious affection for Schubert, and they are able to communicate so well. In the second movement one notices the beguiling pianism of Omri Epstein, and the pure tone of the violinist Mathieu Van Bellen. They play seamlessly as an ensemble, there are no superstar soloists and that is all to the good. The Scherzo is well-nigh perfectly paced, with great detail and cohesion. The Variations are light and nostalgic, and the ensemble subtly increases the tempo to excellent effect, with commendations to Epstein on piano. This is what real chamber music sounds like, and so much of Schubert’s writing is revealed wonderfully. Altogether this is delightful recording in every way.
The only period instrument entry in the top recommendations is the 1998 recording by Jos van Immerseel on fortepiano, Anner Bylsma on cello, and L’Archibudelli Trio on the Sony label. While I remain unconvinced about the Trout on period instruments, this performance goes a long way toward making the case. There is a lightness to the sound, maybe a bit underweight in some places, and the fortepiano has less resonance than a modern piano. The strings are rather astringent as is typical with period instruments, but rhythms are freshly sprung and dance-like. Bylsma creates a lovely tone. Even though the tempo is quick, it is never breathless or forced. This is a very engaging performance, with dynamics attended to nicely as well. You will notice a distinct lack of vibrato as with period performance practice, but even so the musicians are able to express a wide range of feelings and color. The Scherzo is quite enjoyable, the Variations bring to mind flowing water with Immerseel absolutely sparkling here, and the Finale is jaunty and joyful in character. Recommended.
Next is the 1998 recording by the Leipzig String Quartet and pianist Christian Zacharias on the MDG label. The sound is rather bright and up-close, with a wide dynamic range, but has good presence. Zacharias is the real leader here, his playing has sparkle and personality. In addition, the piano and strings are well-balanced together and the depth of tone is attractive. There is a sense of purpose and flow, but they also stop to smell the roses along the way. With a consistent pulse, the lower strings are heard quite well. The first movement crescendo leads to a lively and engaging section that is really delightful. The second movement is relaxed and pastoral in quality, and the ensemble blends uniformly to produce a remarkable sound. Andreas Seidel on violin is particularly lovely. Zacharias is able to increase tension, and then pull back when needed. It is a joy to hear such committed playing with full climaxes matched by breathtaking pianissimos. The Scherzo has a bounce and a noticeable “thump” to it, this is fun music played in a seriously concentrated manner. The Variations are slower and languid, but when the piano enters things pick up considerably with more lyricism. The middle variations are a joy to hear, with the players relishing every moment. In my notes I wrote, “...has this movement ever been done with such understanding of the character of this music? Has it ever been done with such maturity, aplomb, and joy?” I love this recording.
Finally in the recommended category is the 1976 recording by the Beaux Arts Trio along with Samuel Rhodes and Georg Maximilian Hörtnagel. This is the closest thing in my mind to what Curzon and team achieved, but with better sound. There is lovely, creamy string tone together with pointed accents, buoyancy, and a leisurely pace. The sound is full and clear, and it is well-balanced. The Andante and the Variations play to the group’s romantic strengths, and the fluidity, depth, and warmth are palpable. This is sublime musicianship, not high on the exciting scale, but certainly charming and moving. The playing is refined and noble, with Pressler on piano in particular very effective in setting the tone. They take us on a journey, and it is thoroughly delightful and idiomatic for Schubert. When a cohesive group such as the Beaux Arts, caught in their prime, comes together for such a wonderful work, great things are expected. They certainly deliver.
Historic
Legendary pianist Arthur Schnabel and the Pro Arte Quartet on Warner, in a recording from 1935, obviously have sound limitations. Still this is playing of tremendous grace, spontaneity, and feeling. The sound is remarkably good for its day, and Schnabel is in excellent form. The Pro Arte group was known for more romantic repertoire, while Schnabel was more known for his interpretations of classical composers. But it turned out to be a good match, with all involved sensitive to the others. The phrasing is a constant delight, and while the playing is by no means flawless, this is an important historic document of a highly enjoyable performance.
Notes on other recordings
I worship Sviatoslav Richter as one of the greatest pianists of all-time, but his 1980 recording with the Borodin Quartet on Warner has problems with its sound. Many critics love this recording, and Richter is undoubtedly great here. But I find it hard to get past the over-reverberant, tubby sound. The Scherzo is also lacking some impetus, and overall I find this recording less fun than most.
Jeno Jando and the Kodaly Quartet on the budget Naxos label were recorded in 1991, and it is a perfectly serviceable recording, if rather faceless and foursquare. There is nothing wrong with it, but it doesn’t soar to the heights.
The 2004 recording by Frank Braley, Renaud Capucon, Gautier Capucon, Gerard Causse, and Alois Posch on the Erato label (Warner) scores points for sound and smoothness. Violin and cello are lovely, but Braley is not as insightful on piano as many others. This is a very good, straightforward interpretation, but lacks the last ounce of brilliance of those listed in the recommended category.
The star-studded recording with Anne-Sophie Mutter, Daniil Trifonov, et. al. on the DG label, recorded in 2017, is a disappointment. This is not a relaxing performance, and in general I find it overly driven. The music does not have space to breathe, and some of the phrasing choices just don’t work well. It misses some of the tunefulness, which is the essence of the piece. There is no doubting Trifonov is a tremendous talent, and even though I’ve never been a Mutter fan, she plays well. But the interpretation misses the mark.
James Levine with members of the Vienna Philharmonic were recorded by DG in 1993, and there are some really wonderful moments. Unfortunately the performance is marred by a bland first movement. Otherwise, I would recommend this one as most of it is very well done.
Pianist Christoph Eschenbach has recorded the Trout twice, once in 1965 with the Koeckert Quartet for DG, and again in 2020 with the Thymos Quartet on the Avie label. The former recording was my first introduction to the Trout, and I have a sentimental attachment to it even though it has been surpassed both sonically and artistically. The more recent one with Thymos has great sound and is a solid choice.
Andras Schiff and the Hagen Quartet on Decca from 1983 have the advantage of outstanding Decca sound quality. But the performance is a bit too slow and frequently uninvolving. Schiff produces a wonderful tone, but I would not return to this one anytime soon.
Rudolf Serkin’s son Peter Serkin and the Tashi Quartet recorded the Trout for RCA in 1977. The sound is close-up, and good for its time. Peter Serkin is wonderful, and there is the wonderful violin of Joseph Silverstein (concertmaster for the Boston Symphony Orchestra at the time). This version has personality and verve, and there are some thrilling and touching moments. Perhaps not at the top, but beautifully played.
The much lauded contemporary composer and pianist Thomas Ades and the Belcea Quartet from 2004 on Warner are never less than engaging. But something is lacking. I find it a bit cold and lacking character, even though it doesn’t lack energy. The notes are all there, but I don’t sense anything being communicated.
Lamar Crowson and the Melos Ensemble on Warner from 1967 are a good, solid choice. There is nothing too special here, but it is very well done. For me it would not displace any of the recommended recordings.
Alfred Brendel, Thomas Zehetmair, Tabea Zimmerman, et al on Decca recorded in 1995 are worth hearing as well. The piano is unfortunately placed too far forward, and Brendel doesn’t help by tending to pound on the keys sometimes. However, there is a lot of warmth in this reading, with good detail from the performers. At times I wished for more energy but this is still very good. But the competition is fierce.
Full disclosure, I was not able to hear the recordings by Pinchas Zukerman and Yefim Bronfman et al on Sony or the one by the Leopold String Trio with Paul Lewis and Graham Mitchell on Hyperion.
Well folks, thank you for making it to the end of this post on Schubert’s Trout Quintet. As you can see, it is well represented on record and I hope you are able to find one or more recordings to enjoy. I’m looking forward to seeing you here next time. Thank you for reading!
____________________________________
Notes:
Chusid, Martin. "Schubert's chamber music: before and after Beethoven". In Gibbs (1997).
Clive, Michael. Franz Schubert: Piano Quintet in A Major, “Trout”. Program Notes. Pacific Symphony. 2021-2022 Cafe Ludwig Series. February 20, 2022. Pp. 2-3.
Gibbs, Christopher H. (April 1997). "German reception: Schubert's 'journey to immortality'". In Christopher H. Gibbs (ed.). The Cambridge Companion to Schubert. Cambridge Companions to Music. United Kingdom: Cambridge University Press. ISBN 978-0-521-48424-4.
Hirsch, Marjorie Wing (1993). Schubert's Dramatic Lieder. Cambridge: Cambridge University Press. ISBN 0-521-41820-8.
Notley, Margaret. "Schubert's social music: the 'forgotten genres'". In Gibbs (1997).
https://classicalexburns.com/2022/01/01/franz-schubert-trout-quintet-fabulous-fish/