Danish Quartet

This CPO disc contains four pieces by Sofia Gubaidulina, a Russian-Tartar composer of singularly original and individualistic music. These are her three string quartets written up to 1993, and her "String Trio". Performances are given by The Danish Quartet, the ensemble of Tim Frederiksen (violin I), Arne Balk-Moeller (violin II), Claus Myrup (viola), and Henrik Brendstrup (cello). Sofia Gubaidulina's works for string quartet and string trio have always seemed to me to lie at the outskirts of her oeuvre, even though they contain the elements common to all her work that we have come to love. This is perhaps because of their intensity, a single-minded dedication to certain mystical principles without the variety of longer or larger works.

The Danish String Quartet’s Grammy-nominated Prism project links Bach fugues, late Beethoven quartets and works by modern masters. In volume two of the series, Bach’s Fugue in Bb minor from the Well-Tempered Clavier (in the arrangement by Viennese composer Emanuel Aloys Förster) is brought together with Beethoven’s String Quartet Op. 130 and Alfred Schnittke’s String Quartet No.3 (composed in 1983). As the quartet explains, “A beam of music is split through Beethoven’s prism. The important thing to us is that these connections be experienced widely. We hope the listener will join us in the wonder of thee beams of music that travel all the way from Bach through Beethoven to our own times.”

The third volume of the Danish String Quartet’s ongoing Prism series, which shows how the radiance of Bach’s fugues is refracted through Beethoven’s quartets to illuminate the work of later composers. “Beethoven had taken a fundamentally linear development from Bach,” the Danes note, “and exploded everything into myriads of different colours, directions and opportunities – much in the same way as a prism splits a beam of light.” Here the quartet follow the beam from Johann Sebastian Bach’s Fugue in c-sharp minor through Ludwig van Beethoven’s String Quartet no.14 to Béla Bartók’s String Quartet No.1.

The Danish String Quartet’s new album is a “retracing of musical pathways across the North Sea, a journey through the sounds of traditional music from Northern Europe, taking us from Denmark and Norway to the Faroe Islands, and to Ireland and England.” It follows on from Last Leaf, the Danish String Quartet’s much-loved 2017 release, which was Classical Album of the Year at NPR and a best of the year selection at publications from the New York Times to Gramophone. Keel Road underlines the group’s statement that “folk tunes are not just a part of our repertoire, but an important element of our identity as musicians.” Subtly integrated into the flow of the recording, alongside the traditional material, are original compositions by Rune Tonsgaard Sørensen and Fredrik Schøyen Sjölin, eloquently expressive in a folk idiom.

The Danish String Quartet's Grammy-nominated Prism project, linking Bach fugues, Beethoven quartets and works by later masters, receives its fourth installment. The penultimate volume of the series combines Bach's Fugue in G minor from the Well-Tempered Clavier (in the arrangement by Viennese composer Emanuel Aloys Frster) with Beethoven's String Quartet Op. 132 and Felix Mendelssohn's String Quartet No.2 (composed in 1827). As Paul Griffiths observes in the liner notes, these pieces "sound all the more remarkable for the exquisite brilliance and precision of the Danish players".

The Danish String Quartet’s new album is a “retracing of musical pathways across the North Sea, a journey through the sounds of traditional music from Northern Europe, taking us from Denmark and Norway to the Faroe Islands, and to Ireland and England.” It follows on from Last Leaf, the Danish String Quartet’s much-loved 2017 release, which was Classical Album of the Year at NPR and a best of the year selection at publications from the New York Times to Gramophone. Keel Road underlines the group’s statement that “folk tunes are not just a part of our repertoire, but an important element of our identity as musicians.” Subtly integrated into the flow of the recording, alongside the traditional material, are original compositions by Rune Tonsgaard Sørensen and Fredrik Schøyen Sjölin, eloquently expressive in a folk idiom.

Danish String Quartet present the first of their Prism recordings, demonstrating the influence of J.S. Bach through Beethoven and beyond—his music developed, transformed, and scattered into colors as if through a prism. The Quartet begin their voyage with Mozart’s arrangement of a Bach fugue before diving headlong into Shostakovich’s 1974 String Quartet No. 15—a bleak, often dissonant meditation on mortality that draws on Bachian fugue and counterpoint. And in his remarkable 1825 Op. 127 String Quartet, performed here with a beautifully judged sense of narrative, Beethoven holds Bach in the palm of his hand as the music meanders and unfolds toward its radiant final bars.

The third volume of the Danish String Quartet’s ongoing Prism series, which shows how the radiance of Bach’s fugues is refracted through Beethoven’s quartets to illuminate the work of later composers. “Beethoven had taken a fundamentally linear development from Bach,” the Danes note, “and exploded everything into myriads of different colours, directions and opportunities – much in the same way as a prism splits a beam of light.” Here the quartet follow the beam from Johann Sebastian Bach’s Fugue in c-sharp minor through Ludwig van Beethoven’s String Quartet no.14 to Béla Bartók’s String Quartet No.1.