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Franz SCHUBERT (1797-1828)
Piano Quintet in A, D667 The Trout (1819) [34:36]
Antonín DVOŘÁK (1841-1904)
Piano Trio in E minor, Op. 90 Dumky* (1891) [32:19]
 Jörg Demus (piano); Schubert Quartet (Anton Kamper (violin); Erich Weis (viola); Ludwig Beinl (cello); Josef Hermann (double bass)); Josef Suk (violin)*; Milos Sadlo (cello)*; Jan Panenka (piano)*
rec. Herkules Saal, Munich, September 1959 (Schubert); Beethoven Saal, Hanover, June 1958 (Dvořák). ADD
  DEUTSCHE GRAMMOPHON ELOQUENCE 4800489 [67:00]

The Vienna Konzerthaus Quartet was formed by members of the Vienna Philharmonic in 1934. It consisted of violinists Anton Kamper and Karl Maria Titze, violist Erich Weis and cellist Franz Kvarda. The Quartet gave concerts throughout Europe under the auspices of the Wiener Konzerthausgesellschaft (Vienna Concert House Society). After the Second World War in 1945, it toured internationally and was regarded as one of the first quartets to establish an extensive LP discography.

In the early 1950s, members of the Konzerthaus Quartet joined forces with pianist Paul Badura-Skoda and Vienna Philharmonic bassist Josef Hermann for concert performances and a recording of the Schubert ‘Trout.’ The result be equivalent to a ‘grand slam’ by today’s standard and went to the top of the then classical charts. In 1957-1958 health reasons forced Kvarda to step down to be replaced by Ludwig Beinl. Two further recordings of the ‘Trout’ made a lasting impression in the ensuing years. One of these was with the British pianist Denis Matthews. The other was this present DG recording. Kamper, Weis, Beinl and Hermann were scheduled for a recording session in Munich with the then thirty-one year old Austrian pianist, Jörg Demus. According to Tully Potter’s liner-notes, the string members had to hide behind the pseudonym ‘Schubert Quartet’ for contractual reasons. The resulting recording went through several LP editions and a brief CD release in 1992 as part of DG’s “Compact Classics” series.

This Trout is a musical treat with a life-enhancing outdoors quality. Demus shows no signs of nervousness, and all five players rise to a thrilling climax towards the end of the opening Allegro. The ruminative and brooding Andante at times builds to an intensity that gives the impression one is listening to a full string ensemble rather than four players. Demus takes more of a supporting role here, and the Quartet's tonal colours and dynamic range soars. The next two movements make the listener very much aware of the double-bass. Josef Hermann’s instrument finds the lilt and melody behind the grand-fatherly sound. Balance within the group alternates amongst the members with finely judged skill; the ear is logically drawn to whoever is leading the critical musical idea right up to the spiritedly exciting conclusion. This is indeed a true marriage of minds.

According to Potter, this performance of the ‘Dumky’ owes its existence to a brief recording session that took place in June 1958. At this time, two of the finest Czech string players, violinist Josef Suk and cellist Milos Sádlo, and the esteemed pianist Jan Panenka made up the Suk Trio. Their interpretation of the ‘Dumky’ has come to be regarded as the definitive version; thanks to Eloquence, newcomers can begin to understand why.

The players balance control and passion to integrate the work’s Bohemian rhythms, folksy melodies, pungent harmonic progressions and Beethovenian conflagration. Suk’s affecting tone in the Lento pierces the heart, whereas Sádlo’s lovely burnished tone in the Adagio remains irresistible. The crystalline Allegretto scherzando shimmers and ripples. Throughout Panenka is vital yet introspective. He strikes a just balance with the expressive voices of his colleagues. His are skilled hands, capable of a wide spectrum of power and inflection. If I could take just one Dvořák disc to a deserted island this would be my top choice.

Patrick P.L. Lam

see also review by Rob Barnett
 

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