What is the most significant technical challenge of playing Schubert’s Trout quintet on period instruments that modern players might not have to navigate?

The instruments themselves first and foremost - gut strings are a lot thicker and coarser, and they are affected by minute changes in temperature and atmospheric pressure (usually related to humidity). Pitch stability, even with open strings can sometimes be challenging. Lacking chin and shoulder rests, end pins etc these are all things that take a while to acclimatise to.

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What is your favourite 'hidden' musical moment in the Trout Quintet that audiences may miss?

In the Allegro giusto last movement, it’s not difficult to imagine the Hungarian influence. Schubert visited the summer residence of Count Johann Karl Esterházy at Zelész in Hungary in 1818 and again in 1824 teaching music to the Count’s daughters. The Romani composer János Bihari, who played in the court orchestra in Vienna, was well known as a composer of Hungarian verbunkos.

 

If Schubert were to hear your interpretation on historical instruments today, what do you hope he would notice?

It would be fascinating to see if the gestures we use resonated for him. There is much evidence that significant components of C19th expressive language were lost in the C20th and while we can’t ever be sure exactly how these devices were used, recent studies give us a much clearer picture.

 

Can you tell us a little about the Graf Fortepiano and the Viennese Double Bass?

We use a Viennese-action fortepiano by Paul McNulty after Conrad Graf (ca. 1819) with which Schubert would have been very familiar. The Viennese Violone I am using would also have been very familiar to Schubert - with 5 strings and frets. My Violone is a copy of an instrument made in 2009 by Oskar Kappelmeyer in Passau after an instrument by Johann Joseph Stadlmann 1748. It's an exact copy of the bass that Haydn had in his orchestra in Esterhazy (Oskar was restoring it at the time) . It's tuning changed over time and it's fascinating to note that from the time Schubert wrote the work until the time it was first published the range of the Violone changed and this is reflected in the published edition.

 

The incredible soprano Anna Fraser will be performing a selection of Schubert’s Schwanengesang - why do you think they have continued to be played over the past 200 years - what makes them special?

Schubert was arguably the first great composer to seriously turn his attention to Leider, a pursuit that previously had rarely been taken up by composers who composed in more acclaimed public genres. He clearly had a great gift to paint the words into the accompaniment and was a great influence on Lieder composers who followed.

 

For an audience member accustomed to chamber music performed on “modern” instruments, what should they listen for to appreciate the unique charm of this performance by Ironwood?

The different colours; First and foremost with the Fortepiano (Lighter texture, rich overtones, quicker decay, clarity of tone and articulation, and distinctively different sound in different registers). With the strings you will notice the use of more portamento and variations in the extensive use of dynamics and minute tempo fluctuations.

 

Interview conducted by Catherine Barnett (BAMF Committee) March 2026

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To hear Rob Nairn perform with Ironwood at the 2026 Bowral Autumn Music Festival click below:

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To learn more about Ironwood please click here: https://www.ironwoodchamberensemble.com/ensemble

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