Same here!Prometheus wrote:I like the Octet, though I only have one recording of it. It is with Gidon Kremer on DG.
Bösendorfer wrote:Same here!Prometheus wrote:I like the Octet, though I only have one recording of it. It is with Gidon Kremer on DG.
very good, pretty straight ahead, but very fine playing. This is a huge work - c 1 hour long...stenka razin wrote:Schubert's Octet is one of my favorite Schubert masterpieces. What are your favorite performances on disc?
Mine are:
2-Cleveland Octet-Sony-***1/2
Karl Oehlberger was VPO principal bssn from c 1936 - c 1979, IIRC. [maybe 1970John F wrote:The wind players - Leopold Wlach, Karl Oehlberger, and Gottfried von Freiburg - were principals in the Philharmonic in the '40s and '50s,
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That performance by the AAM Ensemble would intrigue me I must saystenka razin wrote:Schubert's Octet is one of my favorite Schubert masterpieces. It is an hour of delightful pleasure. It is overflowing with beautiful melodies and is the pure essence of Schubert's genius.
Do you like this piece? What are your favorite performances on disc?
Mine are:
1-Vienna Octet-Decca-****
2-Cleveland Octet-Sony-***1/2
3-Nash Ensemble-Virgin-***1/2
4-Melos Ensemble London-EMI-***1/2
5-Academy Of Ancient Music Ensemble-L'oiseau Lyre-****
Yes, and they're all related. That's the VPO for you.Heck148 wrote:Karl Oehlberger was VPO principal bssn from c 1936 - c 1979, IIRC. [maybe 1970John F wrote:The wind players - Leopold Wlach, Karl Oehlberger, and Gottfried von Freiburg - were principals in the Philharmonic in the '40s and '50s,
there are quite a few Oehlbergers active in the VPO at present and recent past.
According to the Philharmonic's web site, he retired in 1974.Before the Anschluss, the Philharmonic maintained a tradition of the old style of playing, particularly audible in the string section led by Arnold Rosé, with very little vibrato. It wasn't a straight line, though. Oehlberger's predecessor, Hugo Burghauser, not only the VPO's principal bassoon but its elected executive director (Vorstand), played in a more modern style; after leaving Austria in 1938 he joined the Metropolitan Opera orchestra.Heck148 wrote:He had a basically good sound, quite colorful - but would not incorporate vibrato into his playing...too bad...it's a major expressive device unused. different strokes for different folks.
where did you find his retirement date?? I looked on the VPO website, didn't find it...John F wrote: Yes, and they're all related. That's the VPO for you.
vibrato was not employed by rhe Viennese or German bassoonists as a rule, at least in Austro-German orchestras until quite recently..1970s or after.Before the Anschluss, the Philharmonic maintained a tradition of the old style of playing, particularly audible in the string section led by Arnold Rosé, with very little vibrato. It wasn't a straight line, though. Oehlberger's predecessor, Hugo Burghauser, not only the VPO's principal bassoon but its elected executive director (Vorstand), played in a more modern style; after leaving Austria in 1938 he joined the Metropolitan Opera orchestra.
The Americans certainly adopted vibrato well before WWII, for flute, oboe bassoon. Same with the Czechs and Russians - who use it with clarinet and horn as well...same with the French...Robert Philip's study of old recordings points out that before national styles of playing became homogenized after the War, vibrato was a feature of French wind playing, including clarinets and horns, while "straight" tone was a German and British thing.
http://www.wienerphilharmoniker.at/inde ... z_news=135Heck148 wrote:where did you find his retirement date?? I looked on the VPO website, didn't find it...
Great. Thanks...I knew his birth-death dates, because he's an honorary member of the IDRS.John F wrote: You'd only find it if you Google on Öhlberger, not Oehlberger or Ohlberger.
I believe his pupil Dietmar Zeman succeeded him, after nearly 20 years in the orchestra, but can't confirm it.
I have it, and like it very much, it´s a very characterful performance and very well played too.mikealdren wrote:I've yet to hear a performance that convinces me, somehow like the Ami quartet this seems a very difficult piece to bring off.
Has anyone heard the highly regarded Mullova performance?
Mike
josé echenique wrote:I have it, and like it very much, it´s a very characterful performance and very well played too.mikealdren wrote:I've yet to hear a performance that convinces me, somehow like the Ami quartet this seems a very difficult piece to bring off.
Has anyone heard the highly regarded Mullova performance?
Mike
But my favourite Octet recording is L´Archibudelli & Mozzafiato in SONY. I think period instruments give more texture and the natural horn blends far better with the other instruments than is the case with the modern horn. This recording can hold it´s own with any modern instrument recording. The clarinetist Charles Neidich is excellent and so are Anner Bylsma, his wife Vera Beths, Dennis Godburn, William Purvis, Linda Quan, Jurgen Kussmaul and Marji Danilow. Quite an ensemble.
I have it and enjoy it a great deal, otherwise it's the Classic Recording by the Vienna Octet and Oistrakh on EMI that I play the most....mikealdren wrote:I've yet to hear a performance that convinces me, somehow like the Ami quartet this seems a very difficult piece to bring off.
Has anyone heard the highly regarded Mullova performance?
Mike
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