The Lyric Suite is among the crowning works of modern quartet literature, and the Schoenberg Quartet has the measure of its diverse moods and twin-track trajectory of increasing dynamism and emotional intensity.
Three works from pivotal years in the development of the 'Second Viennese School'—and indeed the whole of western classical music—in performances by the award-winning Heath Quartet.
Dmitri Shostakovich's String Quartet No. 7 lasts no more than twelve minutes. The composer wrote it in March 1960 and dedicated it to his first wife Nina Vasilyevna Varzar - or rather, to her memory, for she had died five years earlier of an insidious form of cancer; suddenly, and without warning. It is a very personal work, one that is close to the composer's heart, for here Shostakovich breaks the strict sequence of keys he imposed on himself. Alban Berg's String Quartet No.1 has 2 movements, bears the opus number 3, and is nevertheless considered the composer's first autonomous work, even though the composer himself points out that he received it personally from Schönberg.
Alban Berg wrote twice for string quartet, and both results stand tall in his output. On this Naive disc, a reissue of an earlier Montaigne release, the Arditti Quartet perform these pieces. The lineup of the Ardittis at this time was Irvine Arditti and David Alberman (violin), Levine Andrade (viola) and Rohan de Saram (cello).
Recordings that include strings quartets by Schoenberg, Berg, and Webern are common, but an album that includes music for quartet and voice by each of them is a rarity. Schoenberg's Second String Quartet, with a part for soprano in its third and fourth movements, is standard repertoire, but the version of Berg's Lyric Suite with a vocal part in the final movement is highly unusual, and Webern's bagatelle with voice, an unpublished movement apparently once intended to be part of the Six Bagatelles, Op. 9, receives what is probably its first recording. Novelty aside, the high standards of these performances make this a formidable release. Founded just before the turn of the millennium, Quatuor Diotima plays with the assurance and mutual understanding of a seasoned ensemble. The quartet has a lean, clean sound and the ensemble is immaculate, playing with exquisite expressiveness, an ideal combination for this repertoire.
These are studio recordings, dating from 1985 and completing a series begun in the late 70s with the C-major quintet and pursued in the early 80s with the 15th quartet and the "Trout" quintet. The "Death and the Maiden" here is not to be confused with the later, live recording made by the ABQ and released in 1998 - which I haven't heard, but which received warm reviews.
This is an impressive reading of the quintet, notable for its energy and lyrical beauty, and cellist Heinrich Schiff certainly throws the considerable weight of his tone behind the fine, blended sound of the Alban Berg Quartet. The original 1982 recording was first-rate. The only drawback is that the players omit the exposition repeat in the quintet's first movement, depriving it of the "heavenly length" it should have.
Shortly after Beethoven's death in 1827, the 18-year-old Felix Mendelssohn composed his String Quartet in A minor. Two years later, while on tour in England, the 20-year-old Mendelssohn composed his String Quartet in E flat major. The young Mendelssohn knew and loved Beethoven's late quartets – he'd heard, played, and even analyzed them – and his.