Galimir Ravel Quartet

This venerable recording by the Italian Quartet from 1965 was, for many years, the standard reference copy of both works either individually or as a coupling. One of the considerable virtues of this group of players was that they could always be relied upon to play in tune and to play with musicianship. The competition was not so strong as it is today as many of the alternative groups simply could not deliver accuracy in tuning (or even worse, the notes). This was rarely commented upon in review magazines at the time, a source of complete bemusement for me, but as one who was expected to play in tune I found listening to string chamber music almost beyond bearing for much of the time - except for this group.

If this premiere recording of Stephen Hough’s String Quartet No 1 may be regarded as definitive—the work is dedicated to the Takács Quartet—those of the quartets by Ravel and Dutilleux are no less distinguished.

In addition to the traditional pairing of the Debussy and Ravel string quartets, the Arcanto Quartett performs Henri Dutilleux's Ainsi la Nuit (1971-1976), a grouping that is becoming increasingly popular on recordings. These are absolutely secure, thoughtful, self-effacing readings of the Debussy and the Ravel. While the quartet doesn't bring particular new revelations to the pieces, the members play with nuanced sensitivity and impeccable musicianship. The haunted quiet they achieve in the first part of the third movement of the Debussy is especially impressive, as is the clarity of their sense of direction and unity in the final movement, the most difficult of the four to pull off. Similarly in the Ravel, the contrast between the serenity of the third movement and the raw athleticism of the fourth is attention-grabbing and invigorating.

This debut album by the Leonkoro Quartet represents the culmination of their first years as an ensemble, years crowned with success and numerous prestigious awards. By bringing together in the same programme Maurice Ravel’s String Quartet in F major and Robert Schumann’s String Quartet in A major, Op. 41, No. 3, works that have accompanied them for a long time, they have created an album that bears witness to the brilliant beginnings of their collaboration. This album is therefore a materialisation of their enthusiasm, their passion and the source of inspiration that these two compositions represent for them.

This record is dedicated to the frequent association of two French scores, gems from "la Belle Epoque" (more or less the Edwardian Era), played by a string quartet which, following their mentor Sandor Vegh's example, is undertaking a new career : after a first and brilliant appearance (1976-84) under the name of Orlando, the quartet is back as Párkányí Quartet, from the name of the Hungarian born "primarius", István Párkányí. Only one member was changed, the cellist Michael Müller replacing Stefan Metz.

The title ‘Dawn to Dusk’ represents some of the contrast between the two works: Ravel’s string quartet can be seen as his first substantial musical statement, while Janácek completed the quartet ‘Intimate Letters’ only a few months before his death. Maurice Ravel wrote only one string quartet, but it is one that dramatically expanded the coloristic boundaries of the genre. Completed in 1903, while Ravel was still a student, he dedicated the work to his teacher, Gabriel Fauré. Over time, Ravel’s quartet has become known as one of the most innovative and vibrantly dynamic quartets in the repertoire.