Your Desert Island Chamber Work

[amw]

Absolutely astonishing piece of music. I don't think I've ever heard it before, so thanks for mentioning.

It's an interesting one; I know multiple people who can't stand Brahms yet make an exception for that piece only. This even applies to musicians, with the string sextets being among the few Brahms pieces to have received multiple recordings by period-instruments ensembles that otherwise never touch him: L'Archibudelli emphasising the passionate and romantic (in the sense of love) aspects of the piece, Hausmusik turning in a more polished, languid, fin-de-siècle performance. The former isn't exactly my "reference" performance, because there isn't anything quite like it, but it most closely matches how I think the piece should be played.

Musically speaking it's a unique work in terms of texture. Every movement has its own characteristic form of textural blurring, ways of making the notes run together: bariolage in the first movement, mordents and trills in the second, heterophony and imitation in the third and measured tremolos in the last. There is also a high degree of motivic unity via intervallic relationships; the first movement focuses on rising fifths, the second movement focuses mostly on falling fourths, whereas the third movement is based on rising fourths and the last movement resolves everything by focusing on falling fifths. At the final iteration of its secondary theme, consisting exclusively of falling fifths, the ensemble also reintroduces all of the textural blurring techniques of the previous movements (bariolage, trills and heterophony), establishing a satisfying feeling of "full circle". There's a sense of emotional purity that results from all of this, even though the texture creates endless ambiguities (harmonic, phrasing) and the way the piece has been received is usually as being "about" romantic love (probably accurately). One could of course argue that love and passion are very "pure" emotions and we only regard them differently because of cultural hangups about sex and intimacy.

Anyway, welcome to the desert island, I guess.

It would be a short stay as I have similar feelings about this piece as Brewski with the Messiaen.

[Holden]

This is hard. On one hand you the LvB Violin sonatas and his SQs. There's also the Tchaikovsky A minor Piano Trio, some Dvorak Trios, quartets and the Piano Quintet and of course there is the one and only Schubert. In the end I've opted for a choice made by others in this thread:

Schubert String Quintet in C major D956.

It's long and it has that absolutely gorgeous slow movement. Second place goes to the "Arpeggione" especially as performed by Rostropovich and Britten.

I'll play the Quintet now - the Hollywood String Quartet with Kurt Reher as the extra cellist. Yes, it's mono but it's absolutely sublime. I've yet to find a stereo version that matches it

[Madiel]

Haydn Opus 33

An entire Haydn opus seems like a terribly unfair advantage.

[Symphonic Addict]

An entire Haydn opus seems like a terribly unfair advantage.

If applies for Beethoven too, so I choose his Op. 59.

[Mandryka]

It's an interesting one; I know multiple people who can't stand Brahms yet make an exception for that piece only. This even applies to musicians, with the string sextets being among the few Brahms pieces to have received multiple recordings by period-instruments ensembles that otherwise never touch him: L'Archibudelli emphasising the passionate and romantic (in the sense of love) aspects of the piece, Hausmusik turning in a more polished, languid, fin-de-siècle performance. The former isn't exactly my "reference" performance, because there isn't anything quite like it, but it most closely matches how I think the piece should be played.

Musically speaking it's a unique work in terms of texture. Every movement has its own characteristic form of textural blurring, ways of making the notes run together: bariolage in the first movement, mordents and trills in the second, heterophony and imitation in the third and measured tremolos in the last. There is also a high degree of motivic unity via intervallic relationships; the first movement focuses on rising fifths, the second movement focuses mostly on falling fourths, whereas the third movement is based on rising fourths and the last movement resolves everything by focusing on falling fifths. At the final iteration of its secondary theme, consisting exclusively of falling fifths, the ensemble also reintroduces all of the textural blurring techniques of the previous movements (bariolage, trills and heterophony), establishing a satisfying feeling of "full circle". There's a sense of emotional purity that results from all of this, even though the texture creates endless ambiguities (harmonic, phrasing) and the way the piece has been received is usually as being "about" romantic love (probably accurately). One could of course argue that love and passion are very "pure" emotions and we only regard them differently because of cultural hangups about sex and intimacy.

Anyway, welcome to the desert island, I guess.

It would be a short stay as I have similar feelings about this piece as Brewski with the Messiaen.

Enjoying Hausmusik. Urbane and nonchalant - like an English gentleman.

[Symphonic Addict]

I'll take Britten's String Quartet No. 3, please...

To me, give me a shot of his 2nd. Oh God, a wonder from start to finish, and I like it the best because of its witty, optimistic nature, a smartly constructed piece, with lots of fascinating counterpoint, cleverly adapted to a medium like the string quartet.

[LKB]

I'm gong to offer a bifurcated response.

As far as recordings are concerned, the Schubert String Quintet in C major on Testament by the augmented Hollywood String Quartet stands alone, imho. The companion is Verklaerte Nacht, and is likewise singular in execution.

As far as music is concerned, i.e. historical importance, emotional impact what have you, Beethoven's Op. 131 likewise stand's alone, imho.

Fortunately, we get to live with both! 

[kyjo]

A wonderful piece, Kyle. I love it, too. A follow-up to this post, what would your favorite recording be of the SQ No. 13? I'm not sure if I could decide between the Panocha or Pavel Haas.

The Pavel Haas recording is pretty hard to beat! I haven't heard the Panocha's version of the 13th actually, but of course their Dvorak that I have heard is superb.

[Mirror Image]

The Pavel Haas recording is pretty hard to beat! I haven't heard the Panocha's version of the 13th actually, but of course their Dvorak that I have heard is superb.

Yes, indeed. I think you'll enjoy the Panocha as well, Kyle.

[Mountain Goat]

I didn't have to think about this one at all, the answer popped into my head as soon as I saw the thread title: Schubert's String Quintet in C. Not surprised to see I'm not the first to choose this. It has been my favourite chamber work for as long as I can remember, even more so since an amazing experience I had at a concert a few years ago - it was a chamber music festival dedicated to Schubert, with a whole day of concerts. The last started at 9pm and was the String Quintet, I nearly didn't bother because I was really tired by this point, but also really wanted to hear this piece live so I went anyway. From the start I struggled to keep my eyes open, and was soon at the point where I was physically incapable of staying awake - but the music was too good to fall asleep to, so my brain seems to have come up with an ingenious solution to shut down all functions apart from listening to the music. For the rest of the concert I was in a trance-like state, fully aware of the music but of absolutely nothing else - being "at one with the music" is the best I can describe it. When I "came to" during the final chord it felt like I had been gone for several years. To this day listening to this piece brings me back to that evening, and I can't imagine ever tiring of it, even if it's all I had to listen to on an island!

Runners up: Beethoven String Quartets op. 131 and 132, either of Brahms's String Sextets, Robert Simpson's String Quartet No. 9.

[bhodges]

I didn't have to think about this one at all, the answer popped into my head as soon as I saw the thread title: Schubert's String Quintet in C. Not surprised to see I'm not the first to choose this. It has been my favourite chamber work for as long as I can remember, even more so since an amazing experience I had at a concert a few years ago - it was a chamber music festival dedicated to Schubert, with a whole day of concerts. The last started at 9pm and was the String Quintet, I nearly didn't bother because I was really tired by this point, but also really wanted to hear this piece live so I went anyway. From the start I struggled to keep my eyes open, and was soon at the point where I was physically incapable of staying awake - but the music was too good to fall asleep to, so my brain seems to have come up with an ingenious solution to shut down all functions apart from listening to the music. For the rest of the concert I was in a trance-like state, fully aware of the music but of absolutely nothing else - being "at one with the music" is the best I can describe it. When I "came to" during the final chord it felt like I had been gone for several years. To this day listening to this piece brings me back to that evening, and I can't imagine ever tiring of it, even if it's all I had to listen to on an island!

Runners up: Beethoven String Quartets op. 131 and 132, either of Brahms's String Sextets, Robert Simpson's String Quartet No. 9.

Thanks for posting that lovely memory. FWIW, I have been to a few concerts while tired -- whether the evening began late, or jet lag (e.g., seeing a concert right off the plane), they have often been wonderful experiences. Something about being so tired that your brain slightly shuts down, so the music can flood in. I wouldn't want to be in that state regularly, but now and then...

--Bruce

[Mountain Goat]

Thanks for posting that lovely memory. FWIW, I have been to a few concerts while tired -- whether the evening began late, or jet lag (e.g., seeing a concert right off the plane), they have often been wonderful experiences. Something about being so tired that your brain slightly shuts down, so the music can flood in. I wouldn't want to be in that state regularly, but now and then...

--Bruce

That's interesting, I've mentioned it to a few people but until now no-one else has been able to relate to this experience - maybe "normal" (non-GMG) people just wouldn't go to a concert if they are that tired! 

I had another similar experience not long afterwards, this time with Fauré's Requiem, though it wasn't as intense. I was working as a postman at the time so on both occasions a very early morning start was responsible!

[classicalgeek]

Virtually impossible, but some combination of LvB 130, 131, and 127, with the Mendelssohn Octet, Schubert C major quintet, Brahms G major sextet, and Brahms G minor piano quartet. And the Webern Concerto for Nine Instruments as dessert.

An outstanding list! I'm so glad someone mentioned the Mendelssohn Octet - just such joyful music, so full of life! I can't believe I forgot it in my "honorable mentions"... really just an astounding work.

And speaking of octets, let's not forget Schubert's! Impressive in scale, and full of lovely tunes.