Admirers of the string quartets of Gabriel Fauré, Claude Debussy, and Maurice Ravel will be happy to discover the refined string quartets of Charles Koechlin, a contemporary of those composers who wrote in a rather similar vein. These attractive chamber works, like the rest of Koechlin's oeuvre, are quite obscure and had been unduly neglected until the Ardeo Quartet chose to record them for its debut CD on Ar Re-Se. The String Quartet No. 1 in D major, Op. 51, is dated 1911-1913, though it appears to have gestated since 1902, and the String Quartet No. 2, Op. 57, was mostly composed between 1911 and 1916, though its sketches show some material going back to 1909; both works therefore partake of musical styles developed between fin de siècle Impressionism and the later …….Blair Sanderson @ Allmusic.com
Never mind the Symphonie espagnole and Le roi d’Ys, Edouard Lalo is the last of the great unknowns in 19th-century French music. His mature instrumental works combine the wisdom drawn from his professional playing experience with the familiar flair for rhythm and colour. They are likely to transform any opinion you may hold: it isn’t often that the inspiration of Beethoven was so well digested in France. The first two trios don’t really count as mature, and although they contain fine things, especially in the scherzos, their characteristic soul, sweep and dash are often clumsily handled. With No. 3, form and feeling are as one, the first movement’s surges integral to its progress to a hushed end, while the slow movement builds a powerful span from a sustained melody. Between them comes the irresistible piece better known in Lalo’s later arrangement as a Scherzo for orchestra. These performances have the necessary robustness without stinting on delicacy.
A pupil of Tchaikovsky, whom he replaced at the Moscow Conservatory, Sergey Taneyev was a virtuoso pianist and a teacher of Scriabin and Rachmaninov. Although as a composer Taneyev is best known today for his four symphonies, he also composed a sizeable body of chamber music, including six String Quartets. These beautifully crafted works are marked by technical assurance at every turn, as well as dramatic inspiration and intense lyricism. The masterly five-movement Quartet No. 1, in fact Taneyev’s Fifth, includes two notable slow movements, while the lighter Quartet No. 3 features a graceful theme with eight variations, alternately playful and contemplative.
Franz Liszt, writing about Grieg's String Quartet No 1, declared: 'It is long time since I have encountered a new composition, especially a string quartet, which has intrigued me as greatly as this distinctive and admirable work by Grieg'. Grieg himself said that his quartet '… aims at breadth; to soar, and above all at a vigorous sound for the instruments for which it is written.' In 1891, Edvard Grieg started his second quartet, but sadly lacked inspiration and time to finish the last two movements. Levon Chilingirian of the Chilingirian Quartet has studied the original manuscripts of the first two movements (which have many clarifying instructions added by Julius Röntgen in preparation for their printing by C F Peters in 1908) and prepared the third and fourth movements especially for this recording. This is therefore a first recording of the completed String Quartet No 2.
In his 16 quartets for two violins, viola, and cello, Beethoven created a Mount Everest for string players and some of the most sublime, unforgettable music ever written. Continuing to astound listeners after 200 years, these glorious quartets give voice to the innermost landscape of the human heart and spirit. They stand, like Michelangelo's statues or the plays of Shakespeare, at the pinnacle of Western art.
Following the Artemis Quartet‘s prizewinning Beethoven Quartet cycle on Virgin Classics, the Berlin-based ensemble has recorded Schubert’s last three quartets, works that Artemis cellist Eckart Runge praises for both their “incredible simplicity and purity” and their “almost terrifying modernism”. Awarded both Germany‘s prestigious Klassik ECHO award and France’s Grand Prix de l’Académie Charles Cros in 2011 for their Virgin Classics Beethoven cycle, the members of the Artemis Quartet now release an all-Schubert CD. It presents the composer’s final three string quartets: No 13 in A minor, ‘Rosamunde’ (which draws on his incidental music for Helmina von Chezy’s play Rosamunde); No 14 in D minor, ‘Death and the Maiden’ (with its haunting second movement based on his song Der Tod und das Mädchen), and No 15 in G major.
Hard-cornered, sharp-edged, and superbly played, the Mandelring Quartett's series of performances of Shostakovich's string quartets recorded for the Audite label are splendid examples of the modernist-internationalist manner.