Schubert: Octet in F Major D.803, Chilingirian Quartet

This recording of Schubert's Octet by the Chilingirian Quartet was made in October 1986 for the mid-price UK label EMI Eminence, but it was apparently released only at the end of 1988, a few months after the recordings made slightly later by Kremer and partners (DG, Schubert: Octet, D803) and the Academy of Saint Martin in the Fields (Chandos, Schubert: Octet in F major, D. 803). It also shares with the latter ensemble clarinetist Andrew Marriner - while its bassoonist Felix Warnock went on the re-record the piece in 1990, on period instruments, with the Academy of Ancient Music, for L'Oiseau Lyre (Schubert: Trout Quintet, Octet, 3 Violin Sonatas), a recording in which he partnered with clarinetist Antony Pay, who had taken part in the Academy of Saint Martin in the Fields' first recording in 1977 (Octet, D.803, and don't be fooled by the first cover photo, only the second one is right) - music in Britain is a game of moving blocks. By the way the individual members of the Chilingirian Quartet are not credited on the CD - not a very considerate oversight. Anyway, it is a good reading, generally unhurried in its choices of tempo, but vigorous and strongly accented.

The opening movement is a good example of that approach; tempo is not as dynamic as the Academy of Saint Martin in the Fields' first version from 1977 (Philips) or Hausmusik on period instruments (1990, EMI Reflexe, Schubert;Octet, and it has been reissued by Virgin), but the playing has plenty of vigor and accents; it is actually quite similar to the ASMF's second recording on Chandos, but with better instrumental definition (the Chandos recording is marred by resonant, church acoustics). However, cello sound is sometimes thin and wanting in lyricism (try the passage 11:58) and string sound in general lacks some fullness. Like the ASMF in both their recordings (but less dramatically), Chilingirian and partners slow down at 9:03 upon the return of the introduction music, a gesture uncalled for by Schubert and which seems to point to a certain misunderstanding of his tempo relationships. Unlike the ASMF, they take the first movement repeat.

At their hands the beautiful "Adagio" (second movement) is expansive, broad and lyrical, not as dramatically accented as Kremer and partners, and perhaps a bit placid in the long run. As in his near contemporary recording with the ASMF, clarinetist Andrew Marriner produces beautiful dynamic nuances, but the cello has a rather dry tone in the passage starting at 6:20. Again the third movement is moderate in tempo but strongly accented, an approach which imparts it a nice rustic flavor. The approach does go against Schubert's "Allegro vivace" tempo indication, but notwithstanding it is a valid and convincing option in its own right. The fourth movement's theme is piquantly phrased, though the moderate tempo adopted by the ensemble also gives it a not so commendable maudlin flavor. By contrast, the more animated tempo chosen by the Kremer band pays dividends. The ensuing variations are marked throughout by the same relaxed tempos and "gemütlich" (easygoing) atmosphere. Not surprisingly, it is close in conception to the ASMF's second recording. In variation 1 the recording is slanted in favor of the violin and consequently the witty horn & bassoon accompaniment figures do not as much presence as with others. Variation 2 is moderate in tempo but well accented. Likewise tempo in variation 3 is a bit lazy, but Levon Chilingirian displays fine purity of violin tone. In the fourth variation, given the moderate tempo the cello cantilena is nonchalant in mood. The fifth variation is nicely somber and brooding but doesn't have the violent accents and dramatic impact of Kremer, Hausmusik or Achibudelli (Sony, L'archibudelli). There is nice, perky woodwind work in variation 7.

Again the musicians adopt a stately tempo in the Menuetto (5th movement), likening it to some 18th century Tafel- or Unterhaltungsmusik, and again it is similar to the ASMF-Chandos, but with better instrumental definition and furthermore firmer accentuation of Schubert's fp marks - still it doesn't have the wonderfully vivid hunt-like horn colors of the period instrument versions, and I find it ultimately a bit soporific. The Finale's slow introduction is powerful and remarkably accented, and the ensuing Allegro is not fast but also strongly, in some places even angrily accented, with sonorous and perky woodwind and brass.

There are other, brisker and more dramatic options, exemplified by the ASMF's first recording, Kremer (despite a plodding finale) or Hausmusik on period instruments, but this one is a fine example of the way vigorous accentuation within the framework of generally moderate tempos can reconcile an easy-going mood and a sense of dynamism.

My reviews of all the other versions mentioned here are on Amazon.com, but this one isn't listed.