Quartet Op. 13 / Lyric Suite
Alban Berg - Felix Mendelssohn

Quartet Op. 13 / Lyric Suite

Tetzlaff Quartett

Label: CAvi
Format: CD
Barcode: 4260085532667
Catalog number: Avi 8553266
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

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.