133 CD / Franz Schubert: Octet in F major D 803

7 reviews for 133 CD / Franz Schubert: Octet in F major D 803

1. Klassik heute – 1. January 2007

   "Klassik heute" Recommendation Top Marks for Artistic Quality, Sound Quality, and Overall Impression
   Where is Freden? After this new recording of Schubert’s Octet, this question can no longer be postponed. Every August, this festival location—known until now only to insiders in the provincial Lower Saxon countryside—hosts the "International Music Days," whose ensemble, camerata freden, already impressed just a few months ago with a remarkable recording of Beethoven’s Septet. But a Schubert interpretation as gripping and daring as this one is not something you hear every day—not even on festival days! From the first to the last note, it is thrilling, surprising, and unpredictable. The musical imagination of camerata freden knows no bounds. They perform the Allegro, the opening movement of the Octet, with nervous intensity, while the Adagio floats weightlessly and dreamily—only to end with a "jarring awakening." In the variations, the horn sings as it might in Strauss, then suddenly you might think you’re listening to the soundtrack of a crime thriller, or even imagine hearing a finely woven sonic tapestry à la Ligeti.
   And how excitingly unconventional the Menuetto sounds afterward! Long before the finale, the listener is perched on the edge of their seat—if they haven’t already leapt out of it entirely. To avoid any misunderstanding, however: This is not the one and only definitive reference recording. Much of camerata freden’s Schubert playing even seems deliberately unfinished, incomplete, tied to experimentation, the moment, and spontaneous inspiration. But it is precisely in this that the unmatched strength of this interpretation lies. So—off to Freden!
   Wolfgang Stähr

2. Musik und Theater – 1. November 2004

   Magnificently Balanced
   They come from several European countries, the soloists of the festival ensemble of the International Freden Music Days in the Leine Valley, yet they unite in a Schubert interpretation that could not be fresher or more Viennese in spirit. The homogeneity they achieve in the Octet is simply thrilling.
   Walter Labhart

3. Hannoversche Allgemeine Zeitung – 7. August 2004

   A Musical Fire of Freden Joy
   (...) The way these soloists listen to one another and collectively trace the contours of the music, the way they respond with precision and sensitivity to its rhetorical nuances—this delivers a truly extraordinary listening pleasure. The sound is sometimes rugged, sometimes fragile (yes, a double bass can be that soft!), the Adagio becomes a quiet song on a summer night, the Allegro vivace sparkles with sheer joy of playing, and the Andante dances along in carefree abandon. Pure listening delight!
   Rainer Wagner

4. Pizzicato – 1. June 2004

   No, the camerata freden need not fear international competition. The festival ensemble of the International Freden Music Days—whose artistic director, Utz Köster, is a violist with the Luxembourg Philharmonic Orchestra—proves itself to be a superbly cohesive team. Beyond their technical mastery, these young musicians captivate above all with their unpretentious directness, interpretive freshness, and an audible joy in shaping the music. Schubert’s glorious Octet has rarely been heard so youthful and dynamic in recent memory. The camerata freden seems to grab Schubert’s music by the scruff of the neck, smoothing out all intellectual furrows with effortless naturalness. The result is so compelling that listeners simply cannot resist being swept along. A wonderful Schubert recording—original, thrilling, and crafted with great love for the music.
   Steff

5. klassik.com – 26. May 2004

   --> original review

   (…) it all comes down to balance—and the Camerata Freden gets it just right.

6. Wetzlarer Neue Zeitung – 14. March 2004

   A feast for the ears and mind is Franz Schubert’s (1797–1828) Octet in F Major (D 803) in this recording by the audiophile label TACET, performed by the Camerata Freden. The festival ensemble of the International Freden Music Days plays with freshness and exuberant joy, combining precision with deeply moving harmony.
   Though the composer, who died young, described the octet—a six-movement work—as a study for his symphonic writing, it became far more than that. With three violins (Adrian Adlam, Cristiano Gualco, Majorlein Dispa), cello (Michel Dispa), double bass (Ilka Emmert), clarinet (Michael Hesselink), bassoon (Letizia Viola), and horn (Ron Schaper), Schubert creates a small world of enchanting motifs, diverse moods, and varied rhythms. The recording technique delivers a natural, open sound, offering an authentic musical experience. Individual voices emerge with clarity, while delicate melodic details shine through. Above all, the performance repeatedly unfolds into moments that invite the listener into musical contemplation.
   Klaus Andrießen

7. musicus – 1. March 2004

   Schubert sought to pave his way to the symphony with his Octet. Yet there is nothing unfinished in this exceptionally joyful work. The Camerata Freden performs it with unmatched spontaneity and infectious energy.