Mozart: Sinfonia Concertante For Violin And Viola, K. 364; Schubert: String Quartet D. 956 / Brainin, Schidlof, Pleeth, et al

On this CD:

1. Sinfonia concertante for violin, viola, and orchestra in E flat major, K. 364
Composed by Wolfgang Amadeus Mozart
Performed by London Mozart Players with Norbert Brainin, Peter Schidlof
Conducted by Harry Blech

2. Quintet for 2 violins, viola & 2 cellos in C major, D. 956 (Op. posth. 163)
Composed by Franz Schubert
Performed by Amadeus Quartet, Norbert Brainin, Martin Lovett, Siegmund Nissel, William Pleeth, Peter Schidlof

Editorial Reviews
Amazon.com
The Amadeus Quartet's special affinity for the Viennese classics shows clearly in the idiomatic lilt and heartfelt expressiveness of their first recording of the Schubert Quintet, made only a few years after the group was formed. Leisurely, expansive, simple, with just the right liberties and inflections, the playing is technically perfect, warm, dreamy, intense, dramatic; every line stands out, the sound is incredibly beautiful and homogeneous; the violist holds the balance between the pairs of high and low voices with tensile strength. The Mozart, too, is the earliest recording by the Quartet's leader and violist; it captures them at their most youthful, exuberant, and spontaneously expressive. Playing with, to, and off each other, they build a unified dynamic and emotional structure and yet preserve their individual style: Brainin's is more lyrical, Schidlof's more urgent. The first movement is quite brisk, the cadenza very free, the second is a heart-breaking lament, the finale a carefree, brilliant romp. Their collaboration with the orchestra is relaxed and comfortable. --Edith Eisler

Amazon.com

The Amadeus Quartet's special affinity for the Viennese classics shows clearly in the idiomatic lilt and heartfelt expressiveness of their first recording of the Schubert Quintet, made only a few years after the group was formed. Leisurely, expansive, simple, with just the right liberties and inflections, the playing is technically perfect, warm, dreamy, intense, dramatic; every line stands out, the sound is incredibly beautiful and homogeneous; the violist holds the balance between the pairs of high and low voices with tensile strength. The Mozart, too, is the earliest recording by the Quartet's leader and violist; it captures them at their most youthful, exuberant, and spontaneously expressive. Playing with, to, and off each other, they build a unified dynamic and emotional structure and yet preserve their individual style: Brainin's is more lyrical, Schidlof's more urgent. The first movement is quite brisk, the cadenza very free, the second is a heart-breaking lament, the finale a carefree, brilliant romp. Their collaboration with the orchestra is relaxed and comfortable. --Edith Eisler

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