Dav Panorama N 3, 2015

GRAMOPHONE Magazine Editor's Choice - October 2015.The Artemis Quartet pairs Brahms’ intense first quartet with his lighter-spirited third quartet, both works that the Artemis’ cellist, Eckart Runge, describes as “remarkable and multi-faceted”. He says that “Brahms marries a Romantic spirit with the structure and forms of Classicism. There is an almost symphonic approach in the writing, but at the same time the quartets are imbued with a sense of warmth, immediacy, friendship and love that is interwoven with a more spiritual, timeless beauty”.

Handel’s solo keyboard music has for too long been overshadowed by his operas, oratorios, and orchestral music. This comparative neglect seems unjust in view of the considerably large quantity of keyboard music which exists amongst his massive output. This third double CD set completes Gilbert Rowland’s survey of these groundbreaking works which began to free the form from the formal constraints of “Allemande, Courante, Sarabande, Gigue”. Gilbert Rowland first studied the harpsichord with Millicent Silver. Whilst still a student at the Royal College of Music, he made his debut at Fenton House 1970 and first appeared at the Wigmore Hall in 1973.

In 1827, when writing his Quartet in A minor, Op.13, the 18-year-old Felix Mendelssohn was especially interested in Beethovens late quartets at a time when these works were generally written off as confused fantasies of a deaf musician. Mendelssohn's debt to Beethoven is evident in the important role of polyphonic techniques, particularly in the focus on cyclical connections between movements. Ten years on, Mendelssohn composed the three quartets, Op. 44, the D major quartet that closes the present disc the last of these to be completed; on publication, however, Mendelssohn placed it first in the set. Besides the seven complete quartets, Mendelssohn also wrote four individual string quartet movements. These were gathered together and published posthumously as op. 81, and on this second volume of their complete Mendelssohn cycle the Escher Quartet perform two of these pieces, both conceived in August 1847, shortly before the composers death.

Award-winning composer and music theoretician Roman Berger is widely respected for his stand against political repression in Eastern Europe during the last century. Most of the works on this recording are dedicated to the members of The Berger Trio, one of Slovakia’s leading ensembles. They include a commemoration of the composer’s late wife and other aspects of parting. The composer himself has written ‘…for me expressionism is neither a style nor an aesthetic, nor an “anachronistic” fashion: it is the result of life experience. The drama of existence leads to drama in art.’

Born on the island of Rügen off Germany’s Baltic coast, Joachim Nikolas Eggert arrived in Sweden in 1803, soon establishing himself as a progressive conductor and introducing Beethoven to Stockholm audiences. Welcomed overwhelmingly on its première, Eggert’s large-scale FirstSymphony hints at Mozart and Haydn but foreshadows Mendelssohn in its wind textures and rich harmonies. The Third Symphony is kaleidoscopic in its moments of light and shade and unusual in its gigantic fugal finale. First of a two-volume set, these two symphonies alone demonstrate that Eggert should be considered one of the more important composers of his era.