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Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. How are you? Here are outstanding performances from an ensemble that draws together some of the most distinguished musicians in Europe. Although there was another private performance of the Octet at the home of Franz Lachner in , its first public airing, with most of the original players, was not until April , in the hall of the Vienna Gesellschaft der Musikfreunde.
Just before the Allegro clarinet and then horn sound a rising octave figure, again in dotted rhythm, which likewise has echoes later in the work.
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The ubiquitous opening phrase of the first theme underpins the second subject, sounded on the clarinet in a plangent D minor and then repeated by the horn in F major. With typical unorthodoxy, Schubert long delays settling in the expected dominant key, C major, which only arrives, with a flurry of violin semiquavers, after protracted ruminations on the main theme. Showing 12 items.
University of Southampton: Turner Sims, Southampton.
Octet for clarinet, horn, bassoon & strings in F major, D. 803 (Op. posth. 166)
Mozart , Clarinet Quintet in A major, K Schubert , Octet in F major, D. London Mozart Players. Wigmore Hall, London. Nash Ensemble: Rossini, Spohr and Schubert. Rossini , String Sonata No. Spohr , Octet in E major, Op.
Orpheus Chamber Orchestra
Nash Ensemble. Camerata RCO. Elena Bashkirova , Piano. Maison de la radio:Auditorium, Paris. Gubaidulina , Hommage to T. Barbara Hannigan , Soprano. Musiciens de l'Orchestre Philharmonique de Radio France.
Virginie Buscail , Violin. Sophie Pradel , Violin. Karine Jean-Baptiste , Cello. Lucas Henri , Double Bass. Jean-Pascal Post , Clarinet.
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All credit to the Berlin players for this performance, which proved to be clear headed and refreshing. The quirkiness in the harmonies, melodies, orchestration and structure, even though not yet fully developed into his mature style, gave the piece a charm and sharpness that shone through in this performance.
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The particularly virtuoso violin part Berwald was a violinist was dashingly played by Daishin Kashimoto and in the usual scherzo that is in place as the middle section of the slow movement, the wind players were nimble and characterful. In the rousing finale all the players were clearly enjoying the outgoing, life enhancing nature of the music.
Despite the excess of ravishing melodies, harmonic twists and brilliant orchestration, this remains a difficult work to sit and listen to for an hour. Not that the Berlin Phil players were in any way responsible for making the work seem overlong; their performance was as good as it gets. So much so that it is hard to pick out any of the individual players for praise here as they were all so technically brilliant and in tune with each other that it was as if they were one.
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