The staying power of the Russian composer Dmitri Shostakovich’s string quartets rivals that of his symphonies. His quartets are deeply personal works – intensely autobiographical, confessional, intimate, intensely emotional – and among the most insightful works in the quartet repertoire.
Grechaninov was born in Moscow a year before Sibelius and also died in New York a year before Sibelius. He was taught by Rimsky-Korsakov. His music did not migrate far from his roots and continued to write in that style well after the 1917 revolution had led to exile first in France and then in the USA. A prolific composer in all the usual genres, his reputation seems to rest mainly on choral music and to be rather tainted by suggestions of lack of originality. Certainly, by comparison with his near contemporary Sibelius, his style did not develop much, meaning it is rather hard to believe the fourth quartet was written as late as 1929. But, listening to this disc, I sometimes found the music hard to place and was not continually reminded of other composers, surely one sign of an original voice. There are four Grechaninov string quartets and this offering completes the Utrecht Quartet’s cycle. The previous disc was well-received by Michael Cookson three years ago (see review). Both works are in four movements with the slow movement placed second. They are fairly conventional but well-crafted and pleasant listening.
These first complete recordings of the string quartets of Schoenberg, Berg, Webern and Zemlinsky have won numerous international awards and been hailed as landmarks in the discography of 20th-century music. Impeccable ensemble, superbly blended timbre and pure intonation ….This set [Schoenberg, Berg, Webern] is indeed a wonderful achievement (MusicWeb International). Febrile intensity and faultless proportioning of each formal structure [Zemlinsky] (Guardian).
From an early age Max Bruch had enjoyed the ideal conditions for becoming a composer: his family had considerable cultural awareness and gave him all the support he needed. He had already composed not only a (lost) symphony but a significant proportion of his chamber music while still a student. The two youthful String Quartets Op.9 in C minor and Op.10 in E major show a Romantic exuberance poured into classic and classical moulds. The members of the ISOS Quartet — Isabelle van Keulen, Katharine Gowers, Vladimir Mendelssohn and Imke Frank — know each other from several important summer festivals as Lockenhaus and Kuhmo. As their CD debut, they recorded both string quartets by Max Bruch exclusively for Koch International Schwann.
Schubert's 'Death and the Maiden' Quartet is now available on Blu-Ray, DVD and HD video to download. The concert includes the early quartets in D Major D74 and B-flat Major D68 as well as the monumental 'Death and the Maiden' D810, and it's the first release of the Cuarteto Casals' five disc set of live performances of the complete quartets of Franz Schubert…
The Aeolian Quartet's epic cycle, originally released in the Seventies, was one of the gramophone's major contributions to Haydn's cause. Listening to the performances anew I find they have lost none of their freshness: they were based on the latest research, and the playing itself is always intelligent and thoughtful, with Emanuel Hurwitz's sweet-toned violin-playing a great asset throughout. (Misha Donat)
At the heart of Beethoven’s life’s statement as a composer lies the cycle of sixteen string quartets, which, to this day, has retained a special status and reverence. Since 2012, the Elias String Quartet has been immersed in its Beethoven Project, performing all Beethoven’s string quartets at venues throughout the UK. In this live recording, the ensemble captures both the intimacy and grandeur of the works. With an ever-expanding recording catalogue that has been met with widespread critical acclaim, the quartet is delighted to release this disc, the first volume of its complete Beethoven cycle to be recorded live at Wigmore Hall over the coming Seasons.
Brett Dean is not shy about revealing what his music is ‘about’. Whether inspired by certain individuals (as in Epitaphs), or by an ecological or human disaster (as in his String Quartet No. 1, on the now all too topical plight of refugees), Dean’s works are usually – perhaps invariably – driven by extra-musical narratives. Rather than tease out any innate structural puzzles or tensions, his music typically falls into short little dramatic narratives – no movement on this disc lasts as long as eight minutes, many of them rather less than five. The most obviously successful work here is Quartet No. 2, ‘And once I played Ophelia’, effectively a dramatic scena. Its soprano soloist is no mere extra voice (as in Schoenberg’s Second Quartet) but the leading protagonist. Allison Bell’s genuinely affecting performance is backed by the Doric Quartet’s expressionist scampering and sustained harmonies, the strings occasionally coming to the fore in the manner of a Schumann-style song postlude.