# Schubert, String Quartet 15 in G-major



## Otter

Let's talk about this stupendous quartet!

Melos Quartet and Cuarteto Casals are my two favorite interpretations. The former is nuanced and perfect. The latter is not for the faint of heart; they observe all the repeats (!!) and give an unparalleled, intense performance. The second movement is especially anguished, and the fourth movement is positively unhinged (not unlike Richter's interpretation of the D.958 tarantella!).

How heartrending is the beginning of the recap. in the first movement?! How terrifying is the return of the dotted-rhythms in the 2nd movement!? How uneasy and playful is the scherzo!?

(If you can't tell, this is my favorite Schubert piece along with D.959). 

Your turn; any favorite interpretations?


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## Ramako

I only have the Melos... I have only been familiar with this quartet for a few months, but it has become one of my favourite pieces of chamber music, and of Schubert... And just a generally excellent piece all round.


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## Ukko

So... what's the D number?


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## Otter

D.887. Forgot to mention that.


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## Ukko

Sorry about the _seeming_ pickiness; I remember the D-numbers mostly.

I listened to this quartet just a few days ago, and confirmed that it doesn't work for me. I don't like the structure much (too simple maybe), and I really don't like that... whatever it's called that resembles a sort of 'bowed pizzicato'. Ah well, If I liked _everything_ it would be the same as liking nothing.


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## KenOC

We have another member here (talking out of school) who, like me, appreciates the #15 more than that Death and the Maiden one. Truly a superb quartet. Oddly, I don't have a favorite performance... On another forum, it placed #3 on all-time best string quartets, after Ludwig's Op. 131 and 132. Not bad.


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## peeyaj

D.887 is one of my favorite masterpieces of Schubert. In my opinion, it is his greatest accomplishment on the genre, even superior to the already excellent, Death and the Maiden quartet. It is one of his most innovative pieces, anticipating the style of Bruckner. The use of tremolos on this work is highly distinctive and the unique interplay of major/minor on the four movements is exhilarating to behold. Even though this is the least popular of his late quartets, D.887 should rank among the "*must-hear"* to those exploring Schubert's music.



> In a unique approach to sonata form, Schubert seems to co-evolve both theme areas in successive waves as each interrupts the other while internally growing more elaborate. Far more "development" happens in the traditional areas of exposition and recapitulation than the literal development section itself, which is relatively brief by comparison. Instead, there is contrast, expansion and variation in an endless matrix of sudden contrasts in modality, texture, dynamics, rhythm and mood. It is not until the last few bars that the battle finally yields to a briefly stable victory for G Major.


My favorite recording is from the Busch Quartet. It is a classic recording in mono but is highly special. It had the best interpretation of the 2nd movement!






The first recording I own is by the Alban Berg Quartet. In my opinion, the best stereo recording. They observe all of the repeats (1st movement - more than 20 minutes) which is a plus.

Here is a discussion of the technical merits of the quartet. Like I said. it is highly innovative.


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## Sid James

Schubert's 15th is my favourite of his 4 late quartets. Its got this split personality, alternating from those easy Viennese dance tunes and song-like melodies to an outright angst you more commonly find in the 20th century. In parts, its near to being psychopathic. I got the Busch Quartet's recording but years back I had one by the Brandis Quartet of Berlin. They both trod that fine line and balanced the sweet and psychopathic qualities of this work (if its ever possible?).

But to prove in a way how modern this posthumously published work was, how groundbreaking, I remember hearing a concert broadcast on radio a few years ago. The program featured Schubert's fifteenth quartet as well as a string quartet by a contemporary composer which extended the quartet into our century. Its a bit like a post modern take on this work. And it was amazing how there was not much difference to me in terms of contrasting the original bits of the quartet and the add ons, the new techniques. But I wish I could remember who the composer was, I totally forget. Could have been an Aussie composer, but dunno unfortunately...


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## Otter

I'm glad to see other people appreciate this quartet; in my completely arbitrary quartet rankings, it occupies the same tier as the Quintet, Beethoven's C#m one, and Janacek's 2nd. 

peeyaj, that Daily Kos article was great; I know Dumbo did a great C-major symphony analysis but had no idea he did the quartet. Too bad it's only the first movement, though. 

Also, I forgot to mention perhaps the strangest moment in the work: in the last movement, towards the middle, when the second theme reappears completely transformed into a haunting song and then disappears just as quickly!


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## FastkeinBrahms

Is this the only thread about this summum opus of string quartets? I actually find it hard to listen to, it is too heartrending. My favourites are the first Juilliard and the Artemis recordings. Are there other threads discussing recordings of D887?


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## wkasimer

Otter said:


> Your turn; any favorite interpretations?


The Hagen Quartet:


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## jegreenwood

I started with the Juilliard (budget Odyssey CD - not much more information). I didn't get it at all. So I never looked for another recording. Until I bought a twofer of the late quartets by Quartetto Italiano. Now I get it. Beautiful.


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## Allegro Con Brio

Having surveyed a number of recordings of this enigmatic yet gorgeous work last year for the Weekly Quartet thread, I can heartily recommend the Italiano. They take it more slowly than others, but their lyrical approach allowed me to see the beauty in the music’s construction.


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## SearsPoncho

Allegro Con Brio said:


> Having surveyed a number of recordings of this enigmatic yet gorgeous work last year for the Weekly Quartet thread, I can heartily recommend the Italiano. They take it more slowly than others, but their lyrical approach allowed me to see the beauty in the music's construction.


Moi aussi! Quartetto Italiano. Love the final 4 Schubert Quartets, and the "Rosamunde" has a special place in my heart. The Quartetto Italiano are also excellent in this. They are slower than most quartets in these final Schubert quartets, but I usually like their interpretations the most.


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## Merl

I have lots of this one. Want me to do one of my all-inclusive reviews? Lol. I mised this as it was at the start of the weekly quartet thread. The number of recordings is huge. I reviewed a number of these for a site many years ago so it wouldnt take me that long to relisten.


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## FastkeinBrahms

Merl said:


> I have lots of this one. Want me to do one of my all-inclusive reviews? Lol. I mised this as it was at the start of the weekly quartet thread. The number of recordings is huge. I reviewed a number of these for a site many years ago so it wouldnt take me that long to relisten.


Thanks for all the replies. I fact, the Quartetto Italiano was my introduction to the late Schubert string quartets when I was studying in China in the Eighties- not much classical music to buy, but I found a legal (!) set of tapes, which I listened to endlessly on a cheap tape recorder. Will look for those recordings now. And yes, reviews of other recordings would be most welcome!


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## Merl

My intro was the Melos Quartet and as much as I still enjoy their Schubert set its been surpassed many times over the years. I'll see what this week's weekly quartet is and if it's one I'm not bothered about I'll review this one instead. If not, it will have to wait until there's a weekly quartet I'm not interested in. I will say that Brandis, Takacs, Casals, Artemis and Kodaly are recordings of this I return to often but there are others I rate too. It would be nice to do a comparative review of this one, though. With the plethora of recordings out ther, there's bound to be a few crackers I've missed over the years.


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## Merl

I've only found 62 recordings (many out of print). Lol. Won't take long to weed them down to a dozen or so! Haha.









Edit: Make that 63. I forget the Melos Quartet did the late quartets again in the 90s for HM. Lol


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## FastkeinBrahms

Ok, how about the best three or five? In the meantime I have listened to the Amadeus studio recording of my wonderful DG Mono Era Box set - certainly another contender for a top spot. But I am happy to wait. Just listening to the Juilliard recording, certainly stressing the harrowing side of this music.


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## Merl

Ok heres some i didnt find competive when i reviewed these some years ago for a private blog but i still had a quick skip-listen to make sure I still felt the same. I dont dislike any...I just think there are better accounts out there....
NB: some of these will e controversial.

*Melos* (70s recording) - nothing wrong with it (I have the complete cycle and it was my first) but not competitive here mainly cos their later HM recording was much better, IMO.
*Amati* - dull, strangely balaced recorded sound ruins this one.
*Taurus* - decent enough but there are many better
*Amati* - ok, but needs more umph 
*Kolisch* - interesting historically but dreadful sound quality 
*Panocha* - very good reading, played beautifully, from a top quartet but others have more passion / bite
*Vienna Konzerthaus* - dated performance but cant fault the playing
*Pro Arte* - another one that suffers from very poor sound
*Coull* - nice enough but not enough character for me
*Manhattan* - recessed recording and too indistinct
*Quatuor Voce* - another nice but too safe performance
*Busch* - sorry but whilst this 'legendary performance may be great to some all I hear is a terrible, scratchy recording. The playing might be inspired but what's the joy of wading through the awful sound to get to it (and tbf others do it just as well or better in great sound)? 
*Budapest* - fine interpretation but I prefer other old recordings. 
*Ma/Kashkashian et al* - gorgeous playing and a fine account but lacks the fire for all it's lovely touches. 
*Verdi* - very beaurifil and this is a class cycle but the recordings are of a type and what works in a cycle doesn't work in individual comparisons. Still a well-realised account. 
*Artea -* recessed, distant sound and too slow. 
*Skalholt* - this is certainly an Intriguing and fine recording and I'd urge you to listen to it as it may really resonate with you (it has a very different sound to other recordings) . I just like others better. 
*Cherubini* - another nice recording but too stately and elegant for me. 
*Juilliard* - I have this excellent, edgy performance but rarely return to it due to the naff, over-bright sound, which has always annoyed me. Otherwise its a top effort and paved the way for a different approach to Schubert SQs. 
*Gabrieli* - dry acoustic. By no means bad but too laid back. 
*Hungarian (studio) * - Haunting and exciting in equal measure, I've always thought that they bludgeon through the last movement of an otherwise superb account
*Franz Schubert Quartet* - pleasant enough but that's not enough in a crowded field like this. 
*New Hungarian* - this excellent Vox Box recording dips just below the cut line but on another day it could have made it. Still a very nice set of Schubert recordings. 
*Amadeus* - as much as I like the Amadeus DG and RIAS recordings they don't get into the top half for me. Shows you how high the bar is set on this quartet. 
*Mandelring* - superb recording from another fine set but they mess up in the 2nd (too slow and lacking momentum) so they're out too! 
*Miro* - a fairly recent recording that's got great sound but lacks a little warmth. .

There's a starter. Many gone and many more to go. Ill keep at it this week and narrow it down to a top ten or so. Next up, those that made the cut.


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## FastkeinBrahms

Wow! Of course I only know a smattering of these. I agree with your assessment of the Busch recording, although it was groundbreaking. I would hesitate to relegate Amadeus and Juilliard to the bottom half but I haven't listened to all their 60+ competitors as you have. I actually dug through my CDs which are in a shambles due to our frequent moves and found I owned the Emerson set of late Schubert quartets. I enjoy this recording very much, a calmer poise and very clean sound, almost a relief after the ruthlessness of the Juilliard. The pensive piano sections where Schubert seems to wander where to go next, without really finding a resolution, are just divine. It's of course trivial, but appreciation depends much on the listener's mood. Emerson is just perfect for a more serene state of mind. Thanks again and looking forward to the upper half of your list.


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## Merl

I'm bound to trample on some toes by relegating recordings like Busch, Verdi, Hungarian (studio) and Amadeus but they are just personal opinions and all are fine performances but I just prefer others in different ways. With so many accounts to go at there's bound to be a few high-profile casualties. I'm also discounting the *Miro* Quartet's very mannered and fussy recording (which got very mixed views upon release) even if its brilliantly recorded and the *Allegri*'s fine recording.

Edit: Btw, after some intense listening today I'm re-instating *Verdi* quartet and the *Hungarians*. Listening again to those performances I was struck by their lyricism across each movement and instead I' m discounting the *Sine Nomine* recording as they lack weight occasionally and I find the recording a little bass-shy and the *Stradivari* for being overtly mannered. I'm also ruling out the *Alban Berg*'s excellent studio account because their live one is much better. Other fine accounts I'm not shortlisting are Belcea (too light across the first two movements but still thoroughly enjoyable) and *Vegh* (fine( but quirky).

So here's my shortlist. Remember, if I've left your fave out then it's not because I don't like it or rate it but I've gotta be concise. Some of these may even squeeze back into the final reckoning. I'll still be playing some I'm on the fence about. This list is vaguely similar to the one I had 3 or 4 years ago on a blog but I've relistened over time (and in the past few days), re-instated quite a few recordings, demoted others (eg. Belcea) and added some new ones. I'll listen to these all thoroughly this week and let you know what I think.

Verdi
Hungarian (Live)
Chilingirian
Takacs
Artemis 
Melos (HM
Italiano
Tetzlaff
Kodaly
Doric
Diogenes
Brandis
Casals
Lindsays
New Zealand 
Emerson
ABQ (live) 
Leipziger
Auryn
Wihan
Oslo
Guarneri
Hagen
Terpsycordes
New Orford
Taneyev
Tokyo
Prazak
Hugo Wolf Quartet


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## Merl

Firstly apologies for the double-post.

So after all of this, here's what I think. As I said, I discussed these elsewhere at length some years ago but these are my current thoughts so are likely to change. Just my views and they will no doubt be contentious for some so don't bite my head off if I've not rated your fave as highly as you (or don't rate them at all)! There's really not a huge difference between the recommendables and the very best (tiny margins of personal preference) and there's recordings in here that will please all Schubertians. How you respond to these recordings is purely down to you. Feel free to add your own comments.

Worthy

New Hungarian, Melos (70s), Coull, Cherubini, Amadeus (both), Vegh, Skalholt, Allegri, Taurus, Quatuor Voce, Sine Nomine, Miro, Verdi, Prazak

*Recommendable (excellent)*

*Brandis* - Excellent all-rounder
*Juilliard (1963)* - even though I still baulk at the very bright sound and some detachment there's no getting away from the sheer power of this performance and the superb playing.
*Belcea* - Although there are mannered moments you can't deny how good this is as a cohesive performance.
*Doric* - This would be higher but for some fussy tinkering with dynamics that makes it sound disjointed in places.
*Auryn* - beautiful and gloriously played. A great library disc.
*Guarneri* - There's a passion about this recording that I like a lot and they are given a rich recorded sound.
*Hungarian *(both) - The Hungarians can be very brisk (especially in the final movement) and rugged but these are still both excellent accounts.
*Melos (90s)* - much better than their lighter, more sensible, 70s performance. Good weight with only an occasional stiffness.
*Terpsycordes* - A very good HIP performance. This period performance may not be for everyone but the leaner textures work effectively, especially in the final two movements.
*Hugo Wolf* - Vibrant and engaging. May not be as tecnically proficient as others but they make up for it with their enthusiasm.
*Tetzlaff *- Another lovely recording that is only let down by being occasionally mannered.
*Chilingirian *- the Chilis keep everything moving so effortlessly. 
*New Zealand *- Really well played and sensible choices on dynamics and rhythms throughout. 
*Diogenes* - A fine well-rounded, account from a fine cycle (If you want a good cheap cycle get this one btw, you wont be disappointed). A grower, that in time may make it into the Special category.
*Juilliard (1980)* - I prefer this account to their earlier one (yeah sacrilege) mainly as I feel that they are more loving and yet darker in quieter moments. A performance of real heart but with the Juilliard's trademark edge and in far better sound than the 63 performance..
*Emerson* - Forget those that say the Emersons play everything in the same brusque way. They handle this one with great care and sensitivity (but they don't hang about).

*Special*

*Wihan* - Wow, this a great recording from the Wihans. Excellent sound, technical ability and lots of drive. Close to the top.
*Kodaly* - Another fine, warm account from an impressive cycle. The Kodalys never put a foot wrong and shape this one very skillfully.
*Taneyev* - vitality, panache and some lovely rugged moments make this one you should hear.
*Tokyo* - a classic with a great mix of vigour and sensitivity.
*Alban Berg* (live and studio) - I have a preference here for the later, more vital, live Alban Berg recording (which is superb) but, tbh, both are great recordings and if you want a perfect library choice then the studio recording might be the one for you. 
*Lindsays* - Not everyone enjoys the Lindsays approach (they are Rugged with a capital R) but I've always loved tougher style in this one. The only thing that keeps it out of the extra specials is a tamer final movement than expected, especially after the vigour of that stunning first movement. 
*Oslo* - This was a hair width from the top. Such a unique soundscape and recording and that cello tone is just magical. Brilliantly realised, recorded and performed. A real sleeper. Try it.

*Extra Special*

*Hagen* - Another classic account, the Hagens are just immense here. Superb ensemble and playing (check those tremeloes in the first movement) and this firm, commanding and gripping recording takes it's place rightly with the elite, for me. 
*Italiano *- Although the Italianos are quite 'old fashioned' in their more romantic approach you just can't deny how bloody good this makes you feel on re-listening to it. Great sound for analogue and stunning quartet playing. Another favourite.
*Casals* - Oh boy do the Casals nail the dynamics here. Great sensitivity in slow / quieter sections and proper weight given when appropriate. This and the Artemis still make the most impression on me. 
*New Orford* - this one came out of nowhere. The New Orfords are bold, don't vibrato it to death and although the quartet is quite closely miked this has a unique quality that I really enjoy. I adore their handling of the first and final movements, especially.
*Takacs* - This is one of those performances that grows and grows. As expected, the Takacs are technically flawless and this really shines in an outstanding, buoyant final movement, where the ensemble and cello-playing (in particular) is quite frankly sensational.
*Leipziger *- Everything about the Leipziger's Schubert cycle is class. No difference in this version of D887. Phrasing is pointed and the music is just left to breathe. A touch dryly recorded but that's a minor niggle and it's not unpleasant in the ear in any way. Tremendous.

*Top Pick*









*Artemis* - Normally I would have tied that last group and this one off but this recording has everything that I want in it (some of you will feel different about it). It's rhythmically spot-on, tight, punchy, explosive, tender, delicate all in equal measure. It really plumbs the depths of emotion in this difficult quartet. I absloutely adore this performance and bought it after doing my first review on this quartet some years ago. If you want plenty of vibrato then don't look here but if you want a more dynamic, well-phrased, sparse on vibrato account then this is it.


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## Malx

Can't argue with your 'top pick',Merl, as that is the only recording I have. It has a clarity and a sense of forward motion I liked without appearing rushed.


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## FastkeinBrahms

Merl said:


> Firstly apologies for the double-post.
> 
> So after all of this, here's what I think. As I said, I discussed these elsewhere at length some years ago but these are my current thoughts so are likely to change. Just my views and they will no doubt be contentious for some so don't bite my head off if I've not rated your fave as highly as you (or don't rate them at all)! There's really not a huge difference between the recommendables and the very best (tiny margins of personal preference) and there's recordings in here that will please all Schubertians. How you respond to these recordings is purely down to you. Feel free to add your own comments.
> 
> Worthy
> 
> New Hungarian, Melos (70s), Coull, Cherubini, Amadeus (both), Vegh, Skalholt, Allegri, Taurus, Quatuor Voce, Sine Nomine, Miro, Verdi, Prazak
> 
> *Recommendable (excellent)*
> 
> *Brandis* - Excellent all-rounder
> *Juilliard (1963)* - even though I still baulk at the very bright sound and some detachment there's no getting away from the sheer power of this performance and the superb playing.
> *Belcea* - Although there are mannered moments you can't deny how good this is as a cohesive performance.
> *Doric* - This would be higher but for some fussy tinkering with dynamics that makes it sound disjointed in places.
> *Auryn* - beautiful and gloriously played. A great library disc.
> *Guarneri* - There's a passion about this recording that I like a lot and they are given a rich recorded sound.
> *Hungarian *(both) - The Hungarians can be very brisk (especially in the final movement) and rugged but these are still both excellent accounts.
> *Melos (90s)* - much better than their lighter, more sensible, 70s performance. Good weight with only an occasional stiffness.
> *Terpsycordes* - A very good HIP performance. This period performance may not be for everyone but the leaner textures work effectively, especially in the final two movements.
> *Hugo Wolf* - Vibrant and engaging. May not be as tecnically proficient as others but they make up for it with their enthusiasm.
> *Tetzlaff *- Another lovely recording that is only let down by being occasionally mannered.
> *Chilingirian *- the Chilis keep everything moving so effortlessly.
> *New Zealand *- Really well played and sensible choices on dynamics and rhythms throughout.
> *Diogenes* - A fine well-rounded, account from a fine cycle (If you want a good cheap cycle get this one btw, you wont be disappointed). A grower, that in time may make it into the Special category.
> *Juilliard (1980)* - I prefer this account to their earlier one (yeah sacrilege) mainly as I feel that they are more loving and yet darker in quieter moments. A performance of real heart but with the Juilliard's trademark edge and in far better sound than the 63 performance..
> *Emerson* - Forget those that say the Emersons play everything in the same brusque way. They handle this one with great care and sensitivity (but they don't hang about).
> 
> *Special*
> 
> *Wihan* - Wow, this a great recording from the Wihans. Excellent sound, technical ability and lots of drive. Close to the top.
> *Kodaly* - Another fine, warm account from an impressive cycle. The Kodalys never put a foot wrong and shape this one very skillfully.
> *Taneyev* - vitality, panache and some lovely rugged moments make this one you should hear.
> *Tokyo* - a classic with a great mix of vigour and sensitivity.
> *Alban Berg* (live and studio) - I have a preference here for the later, more vital, live Alban Berg recording (which is superb) but, tbh, both are great recordings and if you want a perfect library choice then the studio recording might be the one for you.
> *Lindsays* - Not everyone enjoys the Lindsays approach (they are Rugged with a capital R) but I've always loved tougher style in this one. The only thing that keeps it out of the extra specials is a tamer final movement than expected, especially after the vigour of that stunning first movement.
> *Oslo* - This was a hair width from the top. Such a unique soundscape and recording and that cello tone is just magical. Brilliantly realised, recorded and performed. A real sleeper. Try it.
> 
> *Extra Special*
> 
> *Hagen* - Another classic account, the Hagens are just immense here. Superb ensemble and playing (check those tremeloes in the first movement) and this firm, commanding and gripping recording takes it's place rightly with the elite, for me.
> *Italiano *- Although the Italianos are quite 'old fashioned' in their more romantic approach you just can't deny how bloody good this makes you feel on re-listening to it. Great sound for analogue and stunning quartet playing. Another favourite.
> *Casals* - Oh boy do the Casals nail the dynamics here. Great sensitivity in slow / quieter sections and proper weight given when appropriate. This and the Artemis still make the most impression on me.
> *New Orford* - this one came out of nowhere. The New Orfords are bold, don't vibrato it to death and although the quartet is quite closely miked this has a unique quality that I really enjoy. I adore their handling of the first and final movements, especially.
> *Takacs* - This is one of those performances that grows and grows. As expected, the Takacs are technically flawless and this really shines in an outstanding, buoyant final movement, where the ensemble and cello-playing (in particular) is quite frankly sensational.
> *Leipziger *- Everything about the Leipziger's Schubert cycle is class. No difference in this version of D887. Phrasing is pointed and the music is just left to breathe. A touch dryly recorded but that's a minor niggle and it's not unpleasant in the ear in any way. Tremendous.
> 
> *Top Pick*
> 
> View attachment 150488
> 
> 
> *Artemis* - Normally I would have tied that last group and this one off but this recording has everything that I want in it (some of you will feel different about it). It's rhythmically spot-on, tight, punchy, explosive, tender, delicate all in equal measure. It really plumbs the depths of emotion in this difficult quartet. I absloutely adore this performance and bought it after doing my first review on this quartet some years ago. If you want plenty of vibrato then don't look here but if you want a more dynamic, well-phrased, sparse on vibrato account then this is it.


Thank you for this exhaustive and very convincing review, Merl. I am glad that you rate the Artemis recording so highly. I am a big fan of their Beethoven cycle and will now order their late Schubert. The Quartetto Italiano is coming by mail soon and I can't wait to listen to them again for the first time after my student days in the late 80s. I used to really like Alban Berg but now return to their recordings very rarely. I don't quite know why - too raspy? But then, the same quality does not bother me in the least when listening to Juilliard. Maybe Alban Berg seemed just a little bit too sure of themselves, being so dominant at their time, a bit too much routine. Thanks again for a job brilliantly and fastidiously done!


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