The Engegård’s account is intense and passionate. Grieg employs a good deal of double-stopping which creates a full-bodied, rich orchestral sonority. The chromaticism, richly textured harmonies and bold modulations certainly have a progressive feel. The work dispels any pre-conceived notions that Grieg was at heart only a miniaturist. Debussy was very taken by the work, and it influenced him to compose his sole quartet in 1893, also in G minor. It is announced at the beginning of the quartet in unison, woven into the fabric throughout, and makes a return in the last movement. He borrowed from his own music, in this case the ‘ Spillemænd’ (fiddlers) song from his group of Ibsen settings, Op. In common with César Franck’s Piano Quartet of the same year, it incorporates elements of cyclical design. 27 dates from 1878 when he was thirty-five, and sits between an early student work which was lost and the third quartet which was left unfinished. The Engegård Quartet are completely new to me, but I see that they’ve recorded the Grieg previously in 2007 for the 2L label. The only other recording of the Grieg that I have is played by the Hagen Quartet (MYR007). I found two recordings in my collection featuring the two works: the 1989 recording by the Guarneri Quartet (426 286), and a Biddulph recording from the 1930s with the Budapest String Quartet (LAB 098 and now in a Warner Sibelius box). Apart from what some perceive as a permeating ‘Nordic sound’, what is more definite is that each composer left only one mature work in this medium, despite some early attempts. I was quite surprised how many times the Grieg and Sibelius String Quartets have been yoked on disc. String Quartet in D minor Op.56 Voces Intimae (1909) įelix Remix (String Quartet No.4) (2014) Įngegård Quartet (Arvid Engegård, Alex Robson (violins) Juliet Jopling (viola) Jan Clemens Carlsen (cello)) String Quartet in G minor, Op.27 (1877-78) I recommend Guarneri, Cleveland and Busch Quartet recordings.Support us financially by purchasing this from Of course, the rest of the late quartets are amazing too, notably the Heiliger Dankgesang from the Op. I first heard this piece in a great live performance with the Mendelssohn String Quartet with Miriam Fried as first violin.incredible. Listening to this piece can really change how you hear music. The alternate ending brings the piece to a different world- it is almost operatic as if he wanted to continue where the Cavatina left of. Here we see Beethoven mold a synergy with old traditions and foreshadowing new traditions imparting extremely dissonant harmonies that surely resonated long after his death. The Grosse Fuge is a Beethoven's testament to the Baroque. The "beklemmt" section of the Cavatina is one of the most original and captivating novelties in all music. Beethoven said himself that the Cavatina brought himself to tears when he thought of it in his head. I love the six movement form: the ingenious sonata form first movement is sublime and scintillating at the same time with his trademark slow-fast introductions and the four "character" pieces that follow are incredible, most notably the Alla danza Tedesca and the Cavatina. I would have to say Beethoven's Opus 130 quartet with either the Grosse Fuge or the alternate ending.
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