SCHUBERT: Piano Quintet (Forellenquintett) (The "Trout") D. 667; Piano Trio D. 802; Variations on Trockne Blumen for flute and piano D. 897 – Martin Helmchen, piano / Christian Tetzlaff, violin/ Antoine Tamestit, viola / Marie-Elisabeth Hecker, cello/ Alois Posch – doublebass / Aldo Baerten/ wooden flute – Pentatone multichannel SACD PTC5186334; 69:05 **** [Distr. by Naxos]:
Franz Schubert wrote this quintet for piano, violin, viola, cello and double bass in 1819, the “Trout” referring to the fourth movement variations on the theme from “Die Forelle”, a song Schubert had written a couple of years earlier. Whereas the song is dark in meaning, written by the poet Schubart who had been lured back from exile into the dungeons of the fortress, Hohernasperg, as punishment for criticism of Duke Karl Eugen of Württemberg, the theme and variations are light-hearted.
The writing is unusual with the piano and cello often playing in their higher registers, the doublebass providing, as expected, the bass foundations. Martin Helmchen, who has already issued some highly regarded recordings, plays with classical poise, and the ensemble achieved with Tetzlaff, Tamestit, Hecker and Posch is a model of chamber music playing. Other groups give more of an impression of five soloists joining forces; here, the unanimity is extraordinary in its success. The doublebass is well balanced, as naturally as one would hear in concert, in this fine recording from the Siemens Villa, though some may wish for more of an impact from the instrument.
The Piano Trio (Notturno) is no less successful, the keening nocturnal song utterly beguiling in its seeming simplicity. This ten minute adagio stands alone; whether discarded from another trio, or written in advance one cannot tell. Helmchen, Tetzlaff and Hecker play this piece without over-romanticising, the pianist’s triplet ripples especially noteworthy, and the climax before the peaceful end is very well calculated.
The variations for flute and piano are here played on a wooden flute, which gives a quite different sound picture from, for example, that of James Galway. Again, the theme comes from a song with a dark story, but the variations provide a spectrum of emotions and virtuoso demands on the player, Aldo Baerton, who rises to the challenge with his fine-sounding instrument.
This PentaTone SACD is excellent in all formats and gives the listener a varied and rewarding concert of Schubert’s chamber works. While PentaTone already has a first-class recording of the quintet in its RQR catalogue – the wonderful recording by an augmented Beaux Arts Trio – this newcomer provides a sufficiently different consideration of the work to merit its addition, and is warmly welcomed.
— Peter Joelson
