The String Chees Incident

The first volume of the premiere recordings of Jurgis Karnavičius’ (1884–1941) string quartets performed by the Vilnius String Quartet resulted in a growing number of excellent album reviews. It included the composer's romantic and folkmusic-inspired first two quartets. This second volume includes the composer’s last two quartets: Nos. 3 & 4 which are more expressive and modern in nature. Karnavičius wrote his four impressive string quartets during his study and teaching years in St. Petersburg during the 1910s and 1920s, filling the chronological and stylistic gap between the String Quartets of Tchaikovsky and Shostakovich.

Haydn’s Seven Last Words—heard here in the composer’s own arrangement for string quartet—is simply sublime, and a fitting testimonial to the composer’s deep, enduring faith. It provides an apt and generous coupling for the two magnificent Op 77 quartets, Haydn’s final complete contribution to the string quartet genre.

Robert Schumann rated the string quartet genre very highly, describing it as ‘noble’ and considering it to be one of the most revealing in terms of compositional craftsmanship. Possibly it was the high regard in which he held the genre that for so long stopped him from actually completing a quartet of his own – although he had first seriously considered writing one in 1828, it took almost 15 years before he was ready to fully commit to the idea. Once he had done so, there was no returning: during some hectic summer weeks in 1842, a year which is often called ‘Schumann's chamber music year’, he completed the three string quartets of his Op. 41, presenting them to his wife Clara on her 23rd birthday in September. In her diary she wrote ‘… they delighted me to the utmost. Everything in them is new, clear, expertly worked out and always idiomatic.’

Vivian Fung has long been a friend and admired composer of the Jasper String Quartet. The Quartet first performed one of her works in 2019, and we were immediately captivated by the visceral energy and impeccable craft of her writing. Vivian’s String Quartets Nos. 1–4 span 18 years of her career and reflect a remarkable journey of absorbing, integrating, and synthesizing a unique spectrum of influences into her compositional voice. Unwavering in all of the works is a fierce heart, instrumental fearlessness, and an amazing instinct for texture. We are incredibly grateful to have recorded these works with Vivian in the studio and for the growth we experienced in the process.

String Quartet No. 3 derives from a tune sung by Nadia who is looking for her mother. She cannot find her, even though she is looking everywhere. The composition was written in 2019/2020, commissioned by the Royal String Quartet. Aleksander Nowak String Quartet No. 4 written in 2022 was commissioned by the Royal String Quartet and is dedicated to the ensemble. Paweł Mykietyn The piece Magenta [2021] is a kind of reflection on the historical form of the string quartet. In it we can hear both classical and contemporary playing techniques. Sound samples accompanying the instruments come from a variety of sources and times. For example, we can hear a fragment of Ludwig van Beethoven’s String Quartet No. 1, recorded in 1921.

The Italian composer and musicologist Gian Francesco Malipiero is well-known for his comprehensive editions of the music of Monteverdi and Vivaldi.

From two players to twelve: few ensembles could respond with equal authority to the very varied demands made by this wonderful collection of Debussy’s chamber music. But then, few ensembles can stand comparison with the Nash, whose members continue to set the standards across a dauntingly wide repertoire. A realization of the Prélude à l’après-midi … for chamber ensemble adds to this album’s more familiar attractions of the string quartet and three sonatas.

These six works are Beethoven's last major completed compositions. Extremely complex and largely misunderstood by musicians and audiences of Beethoven's day, the late quartets are now widely considered to be among the greatest musical compositions of all time and have inspired many later composers.

From two players to twelve: few ensembles could respond with equal authority to the very varied demands made by this wonderful collection of Debussy’s chamber music. But then, few ensembles can stand comparison with the Nash, whose members continue to set the standards across a dauntingly wide repertoire. A realization of the Prélude à l’après-midi … for chamber ensemble adds to this album’s more familiar attractions of the string quartet and three sonatas.