The intensity and power of Schubert’s genius are manifest not only in the extraordinary beauty of his works, but also in the diversity and prolificacy with which he wrote. Paradoxically, the abundance of his compositions actually created an impediment for their understanding and appreciation as a whole. For years he was regarded primarily a song composer without an appreciation of the greatness of his symphonic and chamber music. His string quartets, which represent some of his most exquisite compositions, were actually neglected for many years. Ignaz Schuppanzigh even said to him regarding them that «there is nothing good here – keep writing songs!»

Yet Schubert’s late quartets contain a concentration, development and elaboration of musical ideas that is perhaps not to be equaled by any of his other compositions. His late quartets in particular are symphonic in scale and conception, monumental masterpieces in chamber format. This was the impetus for conductor Misha Rachlevsky to make arrangements of three of Schubert’s string quartets, as performed on this recording by the Chamber Orchestra Kremlin.

The symphonic breadth of Schubert’s unfinished Quartettsatz is particularly evident in Misha Rachlevsky’s arrangement for orchestra. The Quartet in A Minor, Op. 29, is one of Schubert’s most ethereal chamber compositions. And the Quartet in D Minor is universally popular for its magnificent Andante con moto, a sublime set of variations on the theme from «Der Tod und das Mädchen».