Piano Quartet

Two important chamber works from 19th-century Poland, in quality equivalent perhaps to Dvorák and Brahms, but completely unknown outside their native country. Zarebski was a virtuoso pianist, more feted during much of his short life as a performer than a composer. However his Piano Quintet is truly a masterpiece, demonstrating an originality and stature that match and even surpass better-known piano quintets by better-known composers. It shows a remarkably fresh ear for symphonic thinking, motivic development and sheer melodic invention. Zelenski was a teacher rather than a performer, ending his distinguished academic career as Director of the Conservatory in his home town of Krakow. His Piano Quartet is a passionate, lyrical work, combining the Romanticism of Mendelssohn and Schumann with a piquant Slavic element.

Gabriel Fauré has frequently been termed “the father of Impressionism”; the Parisian music world of Fauré’s time was characterised by emancipation from German hegemony in chamber music after the traumatic outcome of the Franco-Prussian War in 1871 and by the beginnings of an original French musical language beyond the opera. Fauré shows himself from his Late Romantic and passionate sides: already the beginning impetuously rushes forward, but for all its passion it quite strictly and surprisingly follows the formal conventions in its polyphony. The Mozart Piano Quartet skilfully combines the traditional with the new; in three-dimensional sound the enormous dynamic expressive breadth of the ensemble develops its full potential.

In its new Brahms album, the Notos Quartet crosses the boundary between chamber music and the symphony. Alongside the First Piano Quartet, Op. 25, the four musicians have also recorded an arrangement of Brahms’s Third Symphony, Op. 90, specifically prepared for them by Andreas N. Tarkmann. To a certain extent, Arnold Schoenberg’s arrangement of Brahms’s Op. 25 for full orchestra inspired this idea.

Antonin Dvorák's Piano Quartet No. 2 is one of the greatest chamber works of the 19th century (as are many of Dvorák's chamber compositions). Written in 1889 at the request of his publisher Simrock, it is a big, bold work filled with the Czech master's trademark melodic fecundity, harmonic richness, and rhythmic vitality. The first movement is a soaring, outdoor allegro with an assertively optimistic main theme accented by Czech contours and Dvorák's love of mixing major and minor modes. The Lento movement's wistful main theme is played with a perfect mixture of passion and poise by cellist Yo-Yo Ma. The music alternates between passages of drama and delicacy in this, one of Dvorák's finest slow movements in any medium. The Scherzo's stately waltz is contrasted by a lively, up-tempo Czech country dance. The finale is a high-stepping, high-spirited allegro with a strong rhythmic pulse that relaxes for the beautifully lyrical second subject.