Mendelssohn: Octet in E flat major, Op. 20 - CD

The Concerto in D minor for Violin, Piano and Strings is not one of Mendelssohn’s most well-known works; composed when he was 14, its first two public performances were given 134 years apart. The Octet is one of Mendelssohn’s most popular pieces and is expertly executed here in a clean and well-spaced recording.

Founded in 1975 the Australian Chamber Orchestra is internationally acclaimed as ‘ the best chamber orchestra on earth’ The Times

This is a wonderful recording of Mendelssohn’s Octet, written when Mendelssohn was only 16, in 1825. Its a remarkable work, assured and vibrant. This recording really captures this, and manages to convey both lightness and vibrancy, in a seemingly effortless performance.

Recording locations: Victoria Hall, Geneva, Switzerland, May 1950 (Schubert: Piano Quintet); Grosser Saal, Musikverein, Vienna, Austria, April 1954 (Schubert: Octet); Vienna, Austria, June 1953 (Mendelssohn)

This recording forms part of a series of 10 reissues celebrating the glorious Decca recordings from the 1950s-1970s of the Wiener Oktett (Vienna Octet), made up of key principals from the Wiener Philharmoniker and the Vienna Symphony Orchestra.

This collection brings together three of the most enduring chamber music masterpieces ever written. Mendelssohn’s Octet remains an absolute teenage marvel, never mind what Mozart wrote at a similar or younger age, or what child prodigies have accomplished since. Schubert’s “Trout” is one of his most joyous works and his Octet was one of the Wiener Oktett’s signature pieces, admired not only by a legion of concertgoers, record collectors and critics, but also the aged Richard Strauss who heard the ensemble perform this work.

What makes this set even more attractive is that the recordings of each of these pieces are rare and much sought-after. The Mendelssohn was the first of the ensemble’s two recordings (1953, 1972). The Schubert “Trout” Quintet was more famously recorded in 1957 with Clifford Curzon, but this 1950 recording, with the Oktett’s regular pianist, Walter Panhofer, is perhaps even more sublime. The Octet’s recording dates from 1954. It was recorded again in 1958, but for many, this first reading, which has never appeared on CD before, is perhaps even more spontaneous.

Distinguished commentator Tully Potter’s notes on the music and the performers are witty and engaging, adding yet another dimension to the reissue of these recordings, much loved as they have (until now) been much missed.

Mendelssohn’s E minor violin concerto is one of the composer’s greatest works, and one of the most popular violin concertos in the repertoire.

Making his first recording of the work, James Ehnes is partnered by Vladimir Ashkenazy and the Philharmonia, recorded live.

The astonishingly precocious Octet, written when Mendelssohn was just 16, is given a sparking and vivacious performance by James and his friends from the Seattle Chamber Music Society.

His previous ONYX release of the Paganini 24 Caprices was universally praised by reviewers worldwide.

Gil Shaham and Sejong Soloists’ association extends back over a decade, the Haydn concerti and Mendelssohn Octet on this release benefiting from a US tour in April 2009 just prior to the recording sessions.

Haydn and Mendelssohn may not be obvious bedfellows but there is considerable synergy in the composers and this repertoire. Both Haydn’s C major and G major concerti date from the 1760s, still very much in his self proclaimed, “extended youthful period”, together with the fresh and adventurous nature of the Octet, composed when Mendelssohn was still just a teenager. Haydn and Mendelssohn also shared a certain financial freedom that seemed to propel both to new heights of inspiration.

Shaham and Sejong give this repertoire a sense of real intimacy, creating a magical intensity and engagement. The Haydn concerti display Shaham’s flawless technique and lyrical tone - communicating like few others can - and Sejong embrace his direction and Haydn’s intricacies magnificently.

Mendelssohn’s Octet in E-flat Major is arguably THE crown jewel of chamber music. In this recording, Gil Shaham combines aspects from Mendelssohn’s original manuscript version of the Octet, which saw him achieve instant fame, and the final published edition, the 2 versions being separated by 7 years and several revisions in between.

Here, for the first time, the modern music world is introduced to the youthful spirit with which Mendelssohn first brought this work to the world. Of particular significance is the considerably more lively tempi adopted from the original manuscript. Shaham and Sejong embrace and execute this with amazing clarity, the sound being lush and sumptuous yet with an amazing sense of intimacy.

This recording is one of those rare occasions where the ensemble and repertoire come together, the ultimate triumph being the blend and balance achieved by Shaham and Sejong to completely immerse the listener in the moment.

The insightful CD booklet annotations have been authored by Stephen Somary, Artistic Director of the Mendelssohn Project.

‘Shaham manages to combine extraordinary virtuosity with uncommon restraint ... The majestic sweep of the augmented quartet form was given full rein ... two powerful forces in the service of a higher cause.’ Santa Barbara Independent, Mendelssohn/Haydn Concert Review April 2009

Mendelssohn’s Octet, Op. 20 occupies a proud place in the history of works by indecently young composers; it is doubtful whether even such prodigies as Mozart and Schubert produced such an extended, mature work at the age of sixteen. Moreover, one of its movements granted the composer the honour of having an adjective named after him pass into common use – for this Scherzo Mendelssohnian is the only appropriate description. The coupling on this legendary recording – selected for inclusion by the Penguin Guide to the 1000 Finest Classical Recordings – is the much rarer Boccherini Quintet, is, like much of his music, gentle and genial… a quality that led to a contemporary once waspishly describing him as ‘Haydn’s wife’.