Track Listing

1. String Quintet No. 2 in G major, Op. 111: Allegro non troppo, ma con brio
2. String Quintet No. 2 in G major, Op. 111: Adagio
3. String Quintet No. 2 in G major, Op. 111: Un poco Allegretto
4. String Quintet No. 2 in G major, Op. 111: Vivace ma non troppo presto
5. String Quintet No. 1 in F major ('Spring'), Op. 88: Allegro non troppo ma con brio
6. String Quintet No. 1 in F major ('Spring'), Op. 88: Grave ed appassionato - Allegretto vivace
7. String Quintet No. 1 in F major ('Spring'), Op. 88: Allegro energico

Product Details

• Amazon Sales Rank: #219141 in Music
• Released on: 2004-09-21
• Number of discs: 1
• Dimensions: .4 pounds

Customer Reviews

Scrumptious Brahms Scrumptiously Played
I yield to no one in my love for the Brahms String Quintets. And I've collected versions going back to one made by the principal players of the Boston Symphony more than twenty years ago; it's still one of my favorites. But, truth to tell, I've never encountered a bad recording of these two works. I know that they are great favorites of string players and the 'name' quartets love having a guest violist sitting in; I suppose that breaks somewhat the monotony of playing with just the same people day in and day out. Be that as it may, the Leipzig Quartet has just issued this set of performances and they are terrific. First, I must say that MDG has given them warm, spacious sound. Second, their guest violist, Hartmut Rohde, fits right in. The Leipzigs have been making quite a name for themselves lately, having recorded all the Schuberts and the rarely recorded Reger quartet. They certainly have the high-Romantic sound in their ears, fingers and bow arms. They do not, however, have only one (Romantic) arrow in their quiver: they also have recorded all of Charles Ives's music for string quartet!

Is there anyone who can resist that glorious tune that opens and then dominates the first movement of the Op. 88 Quintet? OK, maybe Brahms repeats it a time or two too often in that long movement, but I for one never tire of it. Surely it is one of his happiest creations. The Leipzigers play it and the succeeding three movements with plenty of juice, just the way I like my Brahms. I despair when people say Brahms is an 'academic' or 'dry' composer whose use of old, classic forms is a throwback. (Are there really any people left who feel they have to diss Brahms in order to support Wagner?) These quintets certainly put the lie to that canard. This is hugely expressive music that, nonetheless, is best suited for the intimacy of a chamber music setting, not an orchestra. Brahms knew what he was doing.

The performance of the more popular Op. 111 quintet is just as good. The cellist starts things off with a spectacular statement of that first movement cello theme, reaching for the sky over the throbbing chords of his colleagues. This cello melody is hard to put across in the concert hall sometimes but here the sound seems to expand and carry one away. Again, there is simply nothing to criticize about the Leipzigers' performance. Make no mistake, this quartet is one of the best groups around and here they are on top of their form.

So, even if you already have several recordings of these pieces (and I would recommend those of the Hagen and Ludwig Quartets and of the Raphael Ensemble, as well as that old one on Nonesuch with the Boston Symphony players), you probably ought to investigate this new release. Listen to the snippets which presumably will soon be available here from Amazon and see if you don't agree.

TT=55 mins.

Scott Morrison

Now, This Is More Like It!
Dear Herr Brahms,

I am so happy to report that you've been vindicated in my eyes (ears) as I'm hearing these truly wonderful works performed on a recording by the Leipzig String Quartet. What a world of difference from my earlier assessment of these works! You may recall that I was almost thoroughly repulsed by Sony's budget-priced recording by the Julliard Quartet & Walter Trampler (Brahms: String Quintets Nos. 1 & 2, Opp. 88 & 111); it was a perplexity as to whether my experience was a function of the performance, the recording, or (cough) the music itself.

In happy contrast, the performances and recording here are a model of clarity and sublime musicality! The long lines and textures are beautifully transparent and the music sings with alternating sorrow and exuberance -- two mature masterpieces of the chamber repertoire, not quite on a par with Schubert's incomparable Quintet in C, but exquisitely compelling nonetheless

Sincerely, and all the best wherever time and destiny may take you....