Just a few words about this recording by its Producer: this recording was made in Northville, Michigan, in 2002, twenty years ago. Jaap Schroeder (1925 - 2020) was one of Europe's legendary violinists. A founder member of the Netherlands String Quartet, founder and conductor of Concerto Amsterdam and collaborative musician with Gustav Leonhardt, Frans Bruggen and Anner Bijlsma as a member of Quadro Amsterdam; in the 1980s Jaap founded the Atlantis Ensemble, which represented a collaboration between European and American musicians to play early 19th century chamber music on instruments (and employing stylistic knowledge) of the period. From 2000 on, my CD label, Musica Omnia, was responsible for all of the Atlantis Ensemble's recordings, which featured as part of the core group (the Atlantis Trio) the distinguished American musicians Enid Sutherland (cello) and Penelope Crawford (fortepiano). For this performance of the Schumann Piano Quintet, op. 44, the trio was joined by two brilliant young string players: Swiss violinist, Etienne Abelin (violin II) and Australian violist, Peter Bucknell. The results, as you can hear, were spectacular. First, to those used to hearing Romantic chamber music played on modern instruments (modern piano with metal-strung instrument in the quartet) the originally-intended balances and interplay between the instruments are fully revealed for the first time. This is particularly true in the interchange between viola and cello, often playing in precisely the same range, yet very distinctive in their individual sounds. In modern performances the tone colours of each are homogenized and hard to distinguish without looking at a score, whereas in this recording they remain distinct, as Schumann intended them to be. The fortepiano used by Penelope Crawford is an original 1835 Viennese instrument by Conrad Graf, then the most sought after in Europe, and the same (6 1/2 octave) model owned by both Schumann and Mendelssohn. (This particular Graf is a couple of serial numbers away from one that Mendelssohn purchased in 1835.) This example is preserved in almost miraculous condition, even possessing its original leather hammer coverings, still in perfect, pliable condition. So this fortepiano was just seven years old when Schumann produced his marvellous Piano Quintet during his (and Clara's) "chamber music year" of 1842. You can hear its "special effects" throughout, the most striking being the moderator and double moderator pedals, which insert a thin layer of cloth between the hammers and strings, thereby radically changing both the colour and volume of the instrument. This effect has disappeared from the modern piano. Many people approach "period instrument" recordings with trepidation, expecting something less pleasing (and competent) than the usual "modern" performances with which they are familiar. What we strive for at Musica Omnia is a standard of performance that reflects how things sounded when both music and instruments were new; therefore, a "contemporary" experience, combined with musicianship at the highest level. These players are deeply knowledgeable about the early 19th century chamber music style and yet all virtuosos in their own right. Jaap Schroeder, legendary as a Baroque and Classical specialist was initially trained in Paris by the distinguished Pasquier brothers in the "French" style of string playing, and so early Romantic works such as the Schumann Quintet were very much part of his musical DNA, and his approach has a special transparency and vibrancy. The collaboration between Jaap and Enid (cello) was especially remarkable: they played "as one". Given the quality of the players and the care that was taken with preparation and tuning of the fortepiano during the sessions (due to the expertise of Robert Murphy, one of the restorers of this particular Graf fortepiano, who was present for all of our sessions), we are experiencing here something as close to what Robert & Clara Schumann would have expected as is possible. We made many recordings with the Atlanteans over the years; the Schubert: Piano Trios 1 & 2 & the Trout Quintet; Robert Schuman: Piano Quintet, Piano Quartet & Trio no. 1 in D minor; Clara Schumann: Piano Trio in G minor; Felix Mendelssohn: Piano Trios 1 & 2; Piano Quartets 1-3; Piano Sextet; Fanny Mendelssohn: Piano Trio in D minor; Sigismond Thalberg: Piano Trio in A major. It was remarkable to observe Jaap Schroeder, then in his late 70s and 80s still at the top of his form, backed up with over 60 years of experience as a master violinist in music from the 17th to the 20th centuries. And Jaap's choice of fellow musicians to share his Atlantean journey resulted in the standard that you hear for yourselves here. These recordings are among my own proudest musical experiences and memories. They stand as an important part of Jaap's legacy: he left us in 2020, at the age of 94 after a life in music "well spent". There is one more factor in the quality of this recording (and all of Musica Omnia's many projects over the years) which is immediately apparent: the contribution of the brilliant Boston-based engineer, Joel Gordon, who has been my colleague and friend since I first landed in the USA in 1987, and who has recorded all of my own Bach CDs (many available here thanks to Jean-Marie) for nearly 30 years. Our recordings could not have been possible without his amazing skill, knowledge and taste. I hope you will enjoy this one. Peter Watchorn, Producer, Musica Omnia, Inc.
Thank you Peter for your always interesting 'elaborations'. Your dedication to, and love for music is so clearly transmitted. It was indeed a pleasure to read your short 'essay'. Thank you so much!
21:07 which version of the score is this? Crawford plays a B major / dominant (V) chord in the right hand over a tonic root (I / E major) on the 2nd beat of that measure. Whereas the animated score in the video has tonic
Lebhafte und wunderschöne Interpretation dieses romantischen und perfekt komponierten Quintetts in verschiedenen Tempi mit klarem Klang des Fortepianos, seidigen Tönen zweier Violinen, mildem Ton der Bratsche und tiefem Ton des Violoncellos. Der zweite Satz klingt echt melodisch und auch elegisch. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den fünf Virtuosen ist wahrlich ergreifend. Einfach wunderbar!
This grand 1st movement, the sonata-allegro (AABA') is full of light. It's really 'brilliant' or 'splendid'. Even the 'dark' dialogue between piano and quartet in the middle (B) is going under the white clouds illuminated by eternal sunlight. Transplendent indeed.
To read, that Schumann dedicated this Quintet to his wife, reminded me of a really excellent movie I have watched during one of my visits to Austria, showing biographical insight into their lives together. I stayed up very late for it and remember how very moved I was by it. The drama left quite an impact on me. I haven't listened to their music in quite a while, so it was nice to find it uploaded here on your channel ~ thank you! Tomorrow I will read Peter Watchorn's elaborate text to learn a bit more about this particular recording . Until . . .
One more thank you for this marvelous rendition of Robert Schumann's beautiful composition, not having been too familiar with his Trios & Quartets, but rather his Symphonies and of course his endearingly lovely "Kinderszenen".
But the annoyance of not being able to listen to Argerich's performance on the Scherzo the way it is written due to the accent or the beginning upbeat note keeps getting worse as you listen to it. Just kidding, this is really a masterpiece, nevertheless.
No iba a entrar a ver y escuchar tan admirable obra. Afortunadamente, me arrepentí de ver algo más y vaya que lo hice. ¡¡Grande y hermosa obra de Schumann!!
The pitch is A=430cps, standard for the early 19th century in Germany. So, about 1/4 of a step lower than today's usual pitch of A=440 cps (which is also not universal: Vienna and Berlin use higher pitch today). It's more true to observe that modern performances normally make the music sound quite a bit higher than "written"! The Producer
Just a few words about this recording by its Producer: this recording was made in Northville, Michigan, in 2002, twenty years ago. Jaap Schroeder (1925 - 2020) was one of Europe's legendary violinists. A founder member of the Netherlands String Quartet, founder and conductor of Concerto Amsterdam and collaborative musician with Gustav Leonhardt, Frans Bruggen and Anner Bijlsma as a member of Quadro Amsterdam; in the 1980s Jaap founded the Atlantis Ensemble, which represented a collaboration between European and American musicians to play early 19th century chamber music on instruments (and employing stylistic knowledge) of the period. From 2000 on, my CD label, Musica Omnia, was responsible for all of the Atlantis Ensemble's recordings, which featured as part of the core group (the Atlantis Trio) the distinguished American musicians Enid Sutherland (cello) and Penelope Crawford (fortepiano).
For this performance of the Schumann Piano Quintet, op. 44, the trio was joined by two brilliant young string players: Swiss violinist, Etienne Abelin (violin II) and Australian violist, Peter Bucknell. The results, as you can hear, were spectacular. First, to those used to hearing Romantic chamber music played on modern instruments (modern piano with metal-strung instrument in the quartet) the originally-intended balances and interplay between the instruments are fully revealed for the first time. This is particularly true in the interchange between viola and cello, often playing in precisely the same range, yet very distinctive in their individual sounds. In modern performances the tone colours of each are homogenized and hard to distinguish without looking at a score, whereas in this recording they remain distinct, as Schumann intended them to be. The fortepiano used by Penelope Crawford is an original 1835 Viennese instrument by Conrad Graf, then the most sought after in Europe, and the same (6 1/2 octave) model owned by both Schumann and Mendelssohn. (This particular Graf is a couple of serial numbers away from one that Mendelssohn purchased in 1835.) This example is preserved in almost miraculous condition, even possessing its original leather hammer coverings, still in perfect, pliable condition. So this fortepiano was just seven years old when Schumann produced his marvellous Piano Quintet during his (and Clara's) "chamber music year" of 1842. You can hear its "special effects" throughout, the most striking being the moderator and double moderator pedals, which insert a thin layer of cloth between the hammers and strings, thereby radically changing both the colour and volume of the instrument. This effect has disappeared from the modern piano.
Many people approach "period instrument" recordings with trepidation, expecting something less pleasing (and competent) than the usual "modern" performances with which they are familiar. What we strive for at Musica Omnia is a standard of performance that reflects how things sounded when both music and instruments were new; therefore, a "contemporary" experience, combined with musicianship at the highest level. These players are deeply knowledgeable about the early 19th century chamber music style and yet all virtuosos in their own right. Jaap Schroeder, legendary as a Baroque and Classical specialist was initially trained in Paris by the distinguished Pasquier brothers in the "French" style of string playing, and so early Romantic works such as the Schumann Quintet were very much part of his musical DNA, and his approach has a special transparency and vibrancy. The collaboration between Jaap and Enid (cello) was especially remarkable: they played "as one". Given the quality of the players and the care that was taken with preparation and tuning of the fortepiano during the sessions (due to the expertise of Robert Murphy, one of the restorers of this particular Graf fortepiano, who was present for all of our sessions), we are experiencing here something as close to what Robert & Clara Schumann would have expected as is possible.
We made many recordings with the Atlanteans over the years; the Schubert: Piano Trios 1 & 2 & the Trout Quintet; Robert Schuman: Piano Quintet, Piano Quartet & Trio no. 1 in D minor; Clara Schumann: Piano Trio in G minor; Felix Mendelssohn: Piano Trios 1 & 2; Piano Quartets 1-3; Piano Sextet; Fanny Mendelssohn: Piano Trio in D minor; Sigismond Thalberg: Piano Trio in A major. It was remarkable to observe Jaap Schroeder, then in his late 70s and 80s still at the top of his form, backed up with over 60 years of experience as a master violinist in music from the 17th to the 20th centuries. And Jaap's choice of fellow musicians to share his Atlantean journey resulted in the standard that you hear for yourselves here. These recordings are among my own proudest musical experiences and memories. They stand as an important part of Jaap's legacy: he left us in 2020, at the age of 94 after a life in music "well spent".
There is one more factor in the quality of this recording (and all of Musica Omnia's many projects over the years) which is immediately apparent: the contribution of the brilliant Boston-based engineer, Joel Gordon, who has been my colleague and friend since I first landed in the USA in 1987, and who has recorded all of my own Bach CDs (many available here thanks to Jean-Marie) for nearly 30 years. Our recordings could not have been possible without his amazing skill, knowledge and taste. I hope you will enjoy this one. Peter Watchorn, Producer, Musica Omnia, Inc.
Thank you Peter for your always interesting 'elaborations'. Your dedication to, and love for music
is so clearly transmitted. It was indeed a pleasure to read your short 'essay'. Thank you so much!
21:07 which version of the score is this? Crawford plays a B major / dominant (V) chord in the right hand over a tonic root (I / E major) on the 2nd beat of that measure. Whereas the animated score in the video has tonic
Lebhafte und wunderschöne Interpretation dieses romantischen und perfekt komponierten Quintetts in verschiedenen Tempi mit klarem Klang des Fortepianos, seidigen Tönen zweier Violinen, mildem Ton der Bratsche und tiefem Ton des Violoncellos. Der zweite Satz klingt echt melodisch und auch elegisch. Die intime und perfekt entsprechende Miteinanderwirkung zwischen den fünf Virtuosen ist wahrlich ergreifend. Einfach wunderbar!
This grand 1st movement, the sonata-allegro (AABA') is full of light. It's really 'brilliant' or 'splendid'. Even the 'dark' dialogue between piano and quartet in the middle (B) is going under the white clouds illuminated by eternal sunlight. Transplendent indeed.
To read, that Schumann dedicated this Quintet to his wife, reminded me of a really excellent movie
I have watched during one of my visits to Austria, showing biographical insight into their lives together.
I stayed up very late for it and remember how very moved I was by it. The drama left quite an impact
on me. I haven't listened to their music in quite a while, so it was nice to find it uploaded here on your
channel ~ thank you!
Tomorrow I will read Peter Watchorn's elaborate text to learn a bit more about this particular recording .
Until . . .
One more thank you for this marvelous rendition of Robert Schumann's beautiful
composition, not having been too familiar with his Trios & Quartets, but rather his
Symphonies and of course his endearingly lovely "Kinderszenen".
This masterwork gets better each time I listen to it :)
😅😅
But the annoyance of not being able to listen to Argerich's performance on the Scherzo the way it is written due to the accent or the beginning upbeat note keeps getting worse as you listen to it.
Just kidding, this is really a masterpiece, nevertheless.
Parts of the In modo d'una marcia. Un poco largamente
was orchestrated for the horror film "The Black Cat" 1934.
What a gem! ❤️
Bravo!👏👏👏👏👏👏💐
Viola has a major role in the First Movement! /pos
and in all the other movements also! And, with the use of gut strings, its tone is very distinctive. PW, Producer of this recording.
No iba a entrar a ver y escuchar tan admirable obra. Afortunadamente, me arrepentí de ver algo más y vaya que lo hice. ¡¡Grande y hermosa obra de Schumann!!
will you ever do his C minor piano quartet? can't find its score videos anywhere
Not listed on IMSLP so I can't do it unless somebody has a pdf lying around.
You mean, the E flat Quartet, op. 47?
@@peterwatchorn5618 I literally said 'C minor quartet'
how could have I meant that?
@@GreenTea4 what opus number? Op. 47 is the only fully-fledged Piano Quartet by Schumann.
@@peterwatchorn5618 Anh. E1
it's his early composition, so it doesn't have a proper opus number
Is it just me or does the music sound a half step lower than written?
The pitch is A=430cps, standard for the early 19th century in Germany. So, about 1/4 of a step lower than today's usual pitch of A=440 cps (which is also not universal: Vienna and Berlin use higher pitch today). It's more true to observe that modern performances normally make the music sound quite a bit higher than "written"! The Producer