Label: CAvi
Format: CD
Barcode: 4260085532667
Catalog number: Avi 8553266
Releasedate: 24-10-14
Format: CD
Barcode: 4260085532667
Releasedate: 24-10-14
2nd CD of the 1994 founded Quartet
. Christian Tetzlaff counts as one of the top leading violinists of our time
. Two key works from early Romantic and early 20th c. assembled together
. The Quartet is only playing no more than 15 days per year together and/but enjoys a worldwide high reputation
. Christian Tetzlaff counts as one of the top leading violinists of our time
. Two key works from early Romantic and early 20th c. assembled together
. The Quartet is only playing no more than 15 days per year together and/but enjoys a worldwide high reputation
1827 – 1925/26
(Excerpt from the booklet interview by the Tetzlaff Quartett)
Mendelssohn’s Op.13 and Alban Berg’s “Lyric Suite”: why did you choose this programme? Tetzlaff Quartett: The first, obvious reason is that we’ve been performing these two works for a long time, with the greatest imaginable pleasure. They challenge us as musicians. In Berg’s case the challenge takes us to the farthest frontiers, and in Mendelssohn it is just as formidable. That would be the outer motive. And there are inner motives as well: each of these works has a connection with a hidden love story. I wouldn’t want to lay too much emphasis on this, however. It’s obviously interesting to know the background, particularly in the case of the Lyric Suite. But we shouldn’t forget that Alban Berg never revealed the work’s hidden programme to the public. In the score he encrypted what the individual sections and passages meant to him, but you can enjoy the piece just as much without being aware of every detail. Of course we find it interesting that the piece is about intimate, sometimes terrible things. From your own experience you can recognize every emotion evoked in every single page of the score.
At the end of the suite, Berg quotes Zemlinsky’s “Lyric Symphony”, referring at the same time to Charles Baudelaire’s “De profundis”. The music becomes quite gloomy. TQ: Darker than almost anywhere else in music. As I see it, the utterly forlorn mood in the last movement is the result of a stark contrast. First we have the text on which the movement is based. Then we have a series of extremely expressive solos, particularly in the first violin and in the cello part. Right at the end, however, the music trickles off, fading into nothingness, leaving the impression that “it’s just going to go on this way, and I’ll suffer forever!”
That is something bitterer than what we find in many other composers. To return to the subject of our CD: the incredible difference between these two unrequited loves is that Mendelssohn ends up speaking of great beauty. There is great drama, despair and resignation – but at the same time such incredible beauty, yearning and love.
(Excerpt from the booklet interview by the Tetzlaff Quartett)
Mendelssohn’s Op.13 and Alban Berg’s “Lyric Suite”: why did you choose this programme? Tetzlaff Quartett: The first, obvious reason is that we’ve been performing these two works for a long time, with the greatest imaginable pleasure. They challenge us as musicians. In Berg’s case the challenge takes us to the farthest frontiers, and in Mendelssohn it is just as formidable. That would be the outer motive. And there are inner motives as well: each of these works has a connection with a hidden love story. I wouldn’t want to lay too much emphasis on this, however. It’s obviously interesting to know the background, particularly in the case of the Lyric Suite. But we shouldn’t forget that Alban Berg never revealed the work’s hidden programme to the public. In the score he encrypted what the individual sections and passages meant to him, but you can enjoy the piece just as much without being aware of every detail. Of course we find it interesting that the piece is about intimate, sometimes terrible things. From your own experience you can recognize every emotion evoked in every single page of the score.
At the end of the suite, Berg quotes Zemlinsky’s “Lyric Symphony”, referring at the same time to Charles Baudelaire’s “De profundis”. The music becomes quite gloomy. TQ: Darker than almost anywhere else in music. As I see it, the utterly forlorn mood in the last movement is the result of a stark contrast. First we have the text on which the movement is based. Then we have a series of extremely expressive solos, particularly in the first violin and in the cello part. Right at the end, however, the music trickles off, fading into nothingness, leaving the impression that “it’s just going to go on this way, and I’ll suffer forever!”
That is something bitterer than what we find in many other composers. To return to the subject of our CD: the incredible difference between these two unrequited loves is that Mendelssohn ends up speaking of great beauty. There is great drama, despair and resignation – but at the same time such incredible beauty, yearning and love.
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1String Quartet No. 2 in A minor, Op. 13I. Adagio – Allegro vivace07:45
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2String Quartet No. 2 in A minor, Op. 13II. Adagio non lento07:41
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3String Quartet No. 2 in A minor, Op. 13III. Intermezzo. Allegretto con moto – Allegro di molto04:49
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4String Quartet No. 2 in A minor, Op. 13IV. Presto – Adagio non lento08:29
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5Lyric SuiteI. Allegretto gioviale03:17
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6Lyric SuiteII. Andante amoroso06:07
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7Lyric SuiteIII. Allegro misterioso – Trio estatico03:23
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8Lyric SuiteIV. Adagio passionate05:35
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9Lyric SuiteV. Presto delirando - Tenebroso04:32
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10Lyric SuiteVI. Largo desolato05:58