Schubert’s “Trout” Quintet @ CMS

Mozart himself was represented next by his Adagio and Fugue in C-minor for Strings, K. 546, dating from 1788. The phenomenal double bassist Anthony Manzo – often a most welcome presence at the Society’s annual Brandenburgs evenings – underscored sumptuous playing from Mr. Sussmann, Julian Rhee, and Mr. Neubauer.

Above: Arnaud Sussmann, Julian Rhee, Anthony Manzo, and Paul Neubauer playing Mozart; photo by Da Ping Luo

The C-minor Fugue was first composed in December of 1783 for two pianos (K. 426) then re-arranged for strings, with an introductory Adagio, in June 1788 – the summer of wonders wherein the Maestro penned his last three symphonies. Today, our four players achieved a gorgeous blend in the lyrical opening passages, and then took on a more dramatic edge. After a pause, alternating currents of sweet and sorrowful harmonies emerged, the players’ individual timbres mixing to delightful effect in the expressive music. Mr. Manzo’s remarkably nimble playing is astonishing; it is he who kicks off the fugue, picked up in order by Neubauer, Rhee, and Sussmann…each technically dazzling, and playing from their hearts.

Above: Arnaud Sussmann, Wu Han, Sterling Elliott, and Paul Neubauer playing the Mozart quartet; photo by Da Ping Luo

Staying in Mozart mode, his 1786 Quartet in E-flat major for Piano, Violin, Viola, and Cello, K. 493 brought Wu Han to the Steinway, joining Mssrs. Sussmann, Neubauer, and Elliott. Here – and, in fact, all evening – the communication among the four artists was so uplifting to observe. The opening Allegro has a very familiar start, with piano and string trio conversing. Mr. Sussmann and Wu Han are truly simpatico in their music-making. Wu Han’s touch is so magical as her rippling figurations mesh with the string voices, Mssrs. Neubauer and Elliott bringing darker shadings to the palette. Ah, the joys of a Mozart melody!

Wu Han draws us into the Larghetto with pensive, subtle playing; the strings join, caressing the ear. The harmonies are achingly lovely, with Mr. Elliott’s playing at once elegant and soulful. Piano solo passages are injected into the flow of string themes, as the movement reaches a charming finish. Then, onward to the Allegretto: commencing with a sprightly piano introduction, the music dances along, laced with touches of wit. A mini-tempest erupts, and then a Mozartean sonic feast carries us to the finish line: a spectacular, prolonged trill from Wu Han must be mentioned here. 

Above: Julian Rhee, Paul Neubauer, Wu Han, Sterling Elliott, and Anthony Manzo playing the Schubert ‘Trout’ quintet; photo by Chris Lee

Following the interval, the youthful looking Julian Rhee took the lead for the immortal “Trout” quintet of Franz Schubert. From its sudden start to its finish – a ‘false’ ending drawing a chuckle from the crowd – this was so exhilarating to experience. Schubert’s adding of the double bass was a stroke of genius, and Mr. Manzo’s vividly attentive playing was as enjoyable to watch as to hear.

In the first of the work’s five movements, Mr. Rhee veered from passionate to poetic as the mood demanded; he and Wu Han showed their virtuosity in a blended passage, later waxing lyrical together as Mssrs. Neubauer and Elliott provide a rhythmic foundation. Throughout, Mr. Manzo continued to cast his spell like a benevolent wizard. There was so much to savor here, including some fast and fine phrases from Mr. Rhee.

In the ensuing Andante, Mr. Rhee’s timbre, a unique mix of silver and satin, continued to allure the ear. From his fellow players, harmonic bliss was a main attraction here. A slow beat signaled a change of mood, Rhee’s tone continuing to cast a spell, and Manzo simply amazing at every moment. Heavenly harmonies prevail, and then the slow beat resumes, leading to a lovely finish.

The brisk and ebullient Scherzo lets us bask in the colours that the blended voices evoke. Mr. Rhee – harmonizing first with Mr. Neubauer and then with Mr. Elliott – continues to impress, as does Wu Han’s deft and enticing playing.

Now comes the tune that inspired the quintet’s code name: “Die forelle“ aka the “Trout”. The melody is heard in various guises during this ‘theme and variations’ movement. Impeccable playing from all here, with Mr. Manzo a steadfast guiding light, whilst various rhythmic and harmonic combinations amuse us. Of special delight was a cello & bass rendering of the song, with the fabulous Wu Han chiming in. There is a grand variation, and a cello variation, and all the while Mr. Neubauer reminds us that the viola is also in on this fishing expedition. Mssrs. Rhee and Elliott again match wits as we move on to the finale. For all the fun to be had here, it’s such a demanding score to play; our quintet of artists this evening seemed to revel in every bar of music Schubert gave them.

The finale, Allegro giusto, might have felt like an afterthought, but astonishing playing from Wu Han and her colleagues made it feel essential.

~ Oberon

Performance photos by Da Ping Luo, courtesy of Chamber Music Society of Lincoln Center