Search - Franz [Vienna] Schubert, Martin Helmchen :: Franz Schubert: Forellen Quintet [Hybrid SACD]

Enter Martin Helmchen, Chamber Musician

J Scott Morrison | Middlebury VT, USA | 05/08/2009

(4 out of 5 stars)

"The most interesting thing about this CD which contains three chamber works by Schubert is the presence of a young -- now twenty-seven years old -- German pianist of impressive talent, Martin Helmchen. He has recorded a few things in the past, most notably a Schubert disc with the Moments Musicaux and the A Major Sonata, D.959, Schubert: Piano Sonata in A, D 959; 6 Moment Musicaux [SACD] but this is, as far as I know, his first chamber music disc, and he is most impressive as a musical collaborator. He is joined by a distinguished group of instrumentalists -- Christian Tetzlaff, a magnificent violinist in the Gidon Kremer mold; Antoine Tamestit, an emerging violist; Marie-Elizabeth Hecker, a fine cellist; Adolph Posch, one of Europe's finest double-bassists; and for the 'Trockne Blumen' variations, Aldo Baerten, playing a wooden flute. It is because of the latter selection that I've downrated this disc to four stars, largely because the Variations are themselves not among Schubert's greatest inspirations and because the sound of Baerten's wooden Braun flute has, for me, an ungrateful sound.



But the other two selections, both the great 'Trout' Quintet and the equally great 'Notturno', D.897, are given marvelous readings. I am particularly impressed with how Helmchen is able to be both leader and collaborator in these great works. His pianissimo is delicious, and he has the right, light touch for such things as the filigree in the Variations as well as in the finale of the 'Trout'. The recording engineers have given his instrument just the right balance against other instruments.



The Notturno in E flat, Op. Posth. 148, D. 897 was possibly written originally for the B Flat Piano Trio, D. 898, Op. 99, and then rejected. It has been an orphan ever since and probably has not had the kind of concert life it might otherwise have had as part of a larger work. And that's a shame, because it is cut from the same cloth as the great Adagio of the C Major String Quintet: a glorious melody sings throughout with breath-stopping hypnotic beauty.



The Trout Quintet, of course, needs no elaboration here. Of particular note is that the fourth movement, the one based on Schubert's song, 'Die Forelle', is not played as a romp but as a serious, even somewhat subdued, movement, which is precisely what the text of 'Die Forelle' -- which outlines the sad fate of the trout -- requires. This is an exquisite performance. The performance of the whole Quintet is one of the best in modern sound, and of course in Pentatone's impressive SACD technology it is spectacular.



Heartily recommended for the Quintet and the Notturno, but not for the 'Trockne Blumen' Variations.



Scott Morrison"

An assured, enjoyable "Trout," but too efficient at times

Santa Fe Listener | Santa Fe, NM USA | 09/08/2009

(4 out of 5 stars)

"The lead review hear echoes my own enthusiasm for this lusciously recorded "Trout" Quintet from Berlin. Young Martin Helmchen won the Clara Haskil Prize in 2001, and it's not hard to imagine that he's channeling Haskil here. Like her, his touch is sensitive and restrained, his instincts refined, his mood generally buoyant. Every other participant is a flawless musician. My only complaint is that this accomplished, rather brisk account doesn't have quite enough depth or personality. It's a bit efficient. Contemporary chamber music playing seems to tend that way, especially when you have an ad hoc group that doesn't know each other in depth. Curzon and the Amadeus Qt. (BBC Legends) don't have much to worry about, and neither do the various readings that stem in one way or another from Marlboro, such as the one with Rudolf Serkin taped at the festival in the Sixties or a later studio account with Emanuel Ax and Yo-Yo Ma (both on Sony).



I don't quite get Scott Morrison's point about Die Forelle being a sad song -- it's ironically sad but also quite buoyant and even jolly at points. So a slower, melancholy view of the song as transcribed into the Quintet isn't necessarily right. In any event, this reading isn't slow or melancholy, so the point is moot. The pacing once again is rather brisk; I wish the overall mood were more affectionate. The finale is too straight-faced and lacking in joy. Having said that, this is certainly the best Trout Quintet I've heard since Ax/Ma made theirs in 1996. I can't argue if somebody loves it more than I do."