BaL 23.10.21 - Mendelssohn: Octet

[jayne lee wilson]

So......The Emerson Octet in Mendelssohn Op.20....

.....intrigued by the manner of its production, I begin the Emersons’ Op.20 Octet (1832 revision, Qobuz lossless), and Eugene Drucker’s so-distinctive tone sings across the room, the beauty and unanimity of the ensemble right there, straightaway apparent before me. Ah yes, the famous polish, the smooth textures….
But wait a minute - there’s power and impact and great energy too, reminding one forcibly of Mendelssohn’s explicit wish for an orchestral effect in this work. The development leaps out of the speakers! Listen to those last coda-chords - the sheer weight of tone emphatically final: Orchestral-Chamber Mendelssohn!

But this isn’t just some Emerson-in-the-creative-mirror hifi experiment….the andante sings so sweetly, the scherzo so delicate and quiet that - the explosion of volume, life and dynamic drive in the finale may shock you out of your so-supposedly-cultivated Mendelssohnian wits…sink into those rich, full-textured lower string sonorities…. abandon yourself to the Emersonian moment… (whilst, of course, noting carefully the marvellous clarity of the inner voices….

Playing now, again……. just glorious…..maybe this Op.20 recording, given its provenance, is somewhat sui generis - but wow! What a thrilling creation!

It manages to be both idiomatically Mendelssohnian and quintessentially the Emersons’ Mendelssohn.
And you know what? I’ll take that, and revel in it….…
(..for the record…. I also heard their Op.13…. just wonderful again, to these very seasoned, utterly devoted all-instrumental-vintages Mendelssohnian ears…)

[pastoralguy]

Bump

[BBMmk2]

I’ll be interested in this one.

[mikealdren]

Yes, the only CD versions I have are the ancient Heifetz and Toscanini versions (in box sets). I've always liked my ASMF version on LP (the less highly regarded Iona Brown one) but I need a modern CD replacement.

[Ein Heldenleben]

Yes, the only CD versions I have are the ancient Heifetz and Toscanini versions (in box sets). I've always liked my ASMF version on LP (the less highly regarded Iona Brown one) but I need a modern CD replacement.

They’ve just played the “ancient” Heifetz . Have to say his playing is timeless! That tone , that sweetness without being cloying - has any one ever got near that?

[Braunschlag]

They’ve just played the “ancient” Heifetz . Have to say his playing is timeless! That tone , that sweetness without being cloying - has any one ever got near that?

If they have I’ve yet to discover it. I’ve read here and there that some find his playing cool but I don’t buy that at all - it’s in the luxury class, you never get any sense that he’s not on top of anything he plays, I’m a big Heifetz fan.

[mikealdren]

Interesting comments on balance. I've heard a few star soloist play chamber music and there's no doubt that they can project over their peers when necessary, I don't think it's always a recording balance issue (although it tends to be with some soloists!). The biggest balance problem today was the usual one, voices a bit loud when the music is played at a sensible volume and them we had Katy Hamilton shouting at us. At least Andrew talks to us without raising his voice.

Otherwise, an interesting program although in reality there were only 2 under consideration, what happened to all the other available versions and why waste time with so many non-contenders. I immediately liked the Ehnes version but I would have liked to hear a few more modern alternatives to help build my library.

[visualnickmos]

1) Zukerman / St Paul Chamber Orchestra

2) Melos Ensemble

I rather liked the Nash at Wigmore Hall, judging by the excerpts, at least.

[Ein Heldenleben]

If they have I’ve yet to discover it. I’ve read here and there that some find his playing cool but I don’t buy that at all - it’s in the luxury class, you never get any sense that he’s not on top of anything he plays, I’m a big Heifetz fan.

I almost ate my words when they played Willi Boskovsky straight afterwards. That was a lovely violin sound as well. My thoughts was there was some very good string playing in so many performances but such a variety of recording style and quality - that has to be a really important factor.

[ardcarp]

I guess all music is best heard/seen live, and perhaps no piece illustrates this better than The Octet. Very happy with 'the winner'.
I too liked the Willi Boskovsky+ colleagues version, and the Melos Ensemble. Only judged on what we heard though.

[jayne lee wilson]

They’ve just played the “ancient” Heifetz . Have to say his playing is timeless! That tone , that sweetness without being cloying - has any one ever got near that?

Yes, the original 1978 recording on Philips by the ASMF. Of its kind, hard to fault, so much to praise, in every respect. In fact the Classic Match would be ASMF 1978 v Hausmusik (I was going to comment last week but interest seemed to fade here).

But the Eroica Quartet & Friends, and the daringly free soloist-led Chouchane Siranossian and Anima Eterna have shown how much more there is to this timeless masterpiece, and in the Original 1825 Version (see above).
I guess the BaL didn't even mention the first version, or the very significant differences therein? Any devoted Mendelssohnian just has to know it (and the revised 4th Symphony or the original Violin Concerto).

Meta4/Gringolts (Enescu the perfect c/w, offering new crosslights on the Mendelssohn) have created a new landmark too. I'll seek out this BaL and Seattle later....

[Eine Alpensinfonie]

I guess the BaL didn't even mention the first version, or the very significant differences therein? Any devoted Mendelssohnian just has to know it.
..

It was mentioned and quoted from.

[jayne lee wilson]

It was mentioned and quoted from.

Good to hear! I'll listen later....

[Braunschlag]

I almost ate my words when they played Willi Boskovsky straight afterwards. That was a lovely violin sound as well. My thoughts was there was some very good string playing in so many performances but such a variety of recording style and quality - that has to be a really important factor.

I had time on the train today and gave the Boskovsky a spin, it’s rather wonderful, like stuffing down an entire Sachertorte. With time left I then tried the Heifetz. It’s a fabulous sound but a pretty dull and dead (acoustically) recording, we’re they in his garage?!

[Ein Heldenleben]

I had time on the train today and gave the Boskovsky a spin, it’s rather wonderful, like stuffing down an entire Sachertorte. With time left I then tried the Heifetz. It’s a fabulous sound but a pretty dull and dead (acoustically) recording, we’re they in his garage?!

More and more convinced that the recording of this work is the key . It was extraordinary this morning how many recordings overly favoured the lead fiddle or had a rotten acoustic, or were too closely miked . Close miking strings doesn’t work - you hear too much of the string starting to vibrate , the impact of the bow , even the finger slides for my liking .
Now difficult can it be to record 8 strings ? The answer appears to very difficult indeed . I wonder if the problem is that the engineers have done plenty of quartets but rarely an octet and they don’t know quite how to make it work.