Schubert String Quintet D956 orchestrated by Gamzou

[Alan Howe]

It seems there's a bit of an industry in these arrangements...
https://www.youtube.com/watch?v=clVVU_e_CDc

Concert recording from Olavshallen, Trondheim, Norway - November 2nd, 2017.
Arrangement: Yoel Gamzou
Trondheim Symphony Orchestra & Opera
Conductor: Guy Braunstein

[Mark Thomas]

How odd, I came across this myself only a few days ago. The gems of the Quintet are the two middle movements and in this arrangement they make contrasting impressions. The Scherzo comes out of it very well, to my ears it begs for the full orchestral treatment and this is effectively done here, quite restrained and in keeping with Schubert's idiom but the added colour and sonority is welcome. I'm afraid that the glorious slow movement, even though the addition of orchestral colour isn't overdone, loses the intimacy and pathos of the original which make it such a wonderful piece.

[Alan Howe]

Would the opening of the slow movement have benefited from a solo violin, as in the original?

[Mark Thomas]

Possibly, but I do think this is a case of "leave well alone". Schubert's original makes such perfect use of the five instruments to achieve the semblance of an "inner dialogue" that to tinker with it, never mind orchestrate it, quite destroys the effect. There's an arrangement for string orchestra by Dalia Atlas, also available on YouTube and reviewed a few weeks ago by David Hurwitz, which is quite impressive, but which also illustrates that the second movement is too delicate to mess with.

[Alan Howe]

You're probably right. It's certainly nothing like as effective as Vass' Death and the Maiden. But then the String Quintet is one of the very greatest chamber works in existence.

[Double-A]

I wonder wether the execution by the orchestra is optimal.  The first movement for example contains large dynamic contrasts.  An orchestra ought to have an easier time making those impressive than 5 soloists.  What one hears here sounds like deliberately muted contrasts.  I remember quite a few recordings that come across  with more impact.  The rather "gemütliche" tempo also contributes to the impression of insufficient energy.

The adagio has balance problems which may contribute to its reduced appeal:  The movement runs in two tracks (the wilder middle section is different):  The three middle voices present an ongoing melody, "decorated" by the two outer voices.  At the beginning the melody is practically inaudible and the music is dominated by the "decorations".  Later those decorations appear in pizzicato.  At this point the balance is reversed:  One barely hears the pizzicati and sometimes not at all.  This seems bizarre to me and not properly rehearsed.  I also think the movement is played too slowly to allow listeners to perceive the melody in the middle voices as a melody (vs. just isolated fragments).  (However, Hurwitz is on record as liking the movement very slow, so take this for what it's worth)

I like the scherzo too (including the execution here) though for me the extra colors are not required.  The last movement again could do with a somewhat more energetic tempo.

[Alan Howe]

That's a perceptive review - thanks. Quite a contrast with the super response of the orchestra in Vass' orchestration of 'Death and the Maiden'.