Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Gabriel Faure has frequently been termed “the father of Impressionism.” Why this is so rendered very apparent on this state-of-the-art album featuring interpretations of his two Piano Quartets by the superb Mozart Piano Quartet. With great virtuosity, a fine sense of sound, and an intelligent command of the complex overall structure, the four instrumentalists brighten the performance skies with their musical fireworks. The Parisian music world of Faure’s time was characterized by emancipation from Germany hegemony in chamber music after the traumatic outcome of the Franco-Prussian War in 1871 and by the beginnings of an original French musical language beyond the opera. Faure’s quartets draw formally on the tradition- and yet breathe a new spirit: church modes and whole-tone scales mark so many a motif, and here and there, along with the “classical” development of the themes, we also encounter entirely new harmonic fields and soundscapes. For instance, the beginning of the Adagio in op. 45 already suggests Ravel’s “La vallee des cloches” from the Miroirs: like a memory, distant bells ring in the piano part, over which the very lonely viola gives its all in a pastoral song of lament- enchanting! The two slow movements belong to the absolute highlights on this release.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Hans von B�low ranked it above the works of Schubert and Schumann, and even the critics in England were unanimous: Bernhard Molique's music absolutely must be heard more often! Answering this call, the Trio Parnassus begins with a presentation of the two piano trios of a musician whose great compositional artistry makes us wonder how he ever could have been completely forgotten. Molique, who for a short time perfected his violin playing under the great Louis Spohr, was a member of the "Davidsbundler" led by Robert Schumann, regularly concertized with Mendelssohn, was on friendly terms with Theobald Bohm, and enjoyed Hector Berlioz's respect. Joseph Joachim valued his violin concertos, especially the fifth. His first piano trio also radiates romantic spirit in the best sense of the term. It displays a very original form and is magnificently designed, though sometimes harsh in expression. By contrast, the second is significantly "listener-friendlier" and has catchy melodies and a virtuoso piano part on the same high level as Mendelssohn's masterpieces. The andante of the second movement moves us with it's pizzicato accompaniment and reminiscences of Schubert suggesting simplicity of folk song character- this is great art, and the Trio Parnassus once again displays it's fabulous powers of presentation.

The Leipzig String Quartet is back! After a compulsory break of two years the top ensemble from Saxony now continues its Haydn edition. Nos. 1, 2, and 6 round off Haydn’s op. 64- a marvelous combination of emotional dedication and consummate classicism displaying a historical backdrop and refreshing virtuosity. Haydn, the glorious inventor of the string quartet, took the genre to new heights in his op. 64. Perfectly balanced in form and harmony, the pieces comprising this number are directly interrelated. And this was precisely what the impresario Peter Salomon was looking for when he hired the sought-after retiree on the spot for his London concert series. Haydn’s legendary jokes are rather subtle in nature in his op. 64. Surprising contrasts between major and minor, between triplets and duplets, a second trio in the E flat major minuet, a seeming recapitulation in the very remote key of G flat major- those in the musical know will delight in his fine sense of humor, which this time supports the finely proportioned architecture of the pieces instead of questioning its stability. In London Haydn’s career once again truly blossomed. The Quartets op 64 must have played a considerable role in this development, and with the Leipzig String Quartet we immediately understand why this was so. The musicians perform with historical bows, while standing, and produce agile, tonally fine, and transparent interpretations, uniquely demonstrating how personal commitment, when it is most deeply felt, can be articulated in consummate classical proportions!

Classical Music

Classical Music