Catherine King - Elgar & Faure: String Quartets - COMPACT DISCS [CD]
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The newest from SOMM Recordings is an unusual but exciting pairing of two string quartets by British and French contemporaries Sir Edward Elgar (1857-1934) and Gabriel Faure (1845-1924). Also included is a collection of shorter gems transcribed for string quartet by the British composer, arranger, and pianist Iain Farrington. These comprise Elgar's Carissima (originally composed for small orchestra) and selections from Faure's Piano Preludes Nos. 4, 8, and 9, this last described by Aaron Copland as being Inchso absolutely simple that we can never hope to understand how it can contain such great emotional power.InchThis recording features the Eusebius Quartet, formed in 2016 out of a passion for the extraordinary music written for this instrumentation, and praised as InchexcellentInch by The Sunday Times. Their debut CD for SOMM of the Korngold Piano Quintet & Quartet (SOMMCD 0642) received critical acclaim InchWit and clarity abound in the Quartet's Viennese-sounding performances, Inch The Strad; InchThe musicians seem to feel the music just as it is, complex on the surface, but direct and straight from the heart, Inch BBC Music Magazine.Elgar and Faure met once at the time of the London premiere of Elgar's First Symphony in 1908. Although Faure spoke no English and Elgar's French wasn't exactly conversational, it's fascinating to compare the musical language of their two quartets, both in the key of E minor, and written late in the composers' lives. Edward Elgar was a more than competent violinist, and he made several attempts throughout his career to write a string quartet. Finally, ill and depressed by war-time London in 1918, he completed his String Quartet, Op. 83. It is cast in three movements, the outer Allegro movements bookending one marked Piacevole (poco andante). This slow middle movement, which contains a quotation from Elgar's Chanson de Matin, was a
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- GenreClassicalDescriptionThe newest from SOMM Recordings is an unusual but exciting pairing of two string quartets by British and French contemporaries Sir Edward Elgar (1857-1934) and Gabriel Faure (1845-1924). Also included is a collection of shorter gems transcribed for string quartet by the British composer, arranger, and pianist Iain Farrington. These comprise Elgar's Carissima (originally composed for small orchestra) and selections from Faure's Piano Preludes Nos. 4, 8, and 9, this last described by Aaron Copland as being Inchso absolutely simple that we can never hope to understand how it can contain such great emotional power.InchThis recording features the Eusebius Quartet, formed in 2016 out of a passion for the extraordinary music written for this instrumentation, and praised as InchexcellentInch by The Sunday Times. Their debut CD for SOMM of the Korngold Piano Quintet & Quartet (SOMMCD 0642) received critical acclaim InchWit and clarity abound in the Quartet's Viennese-sounding performances, Inch The Strad; InchThe musicians seem to feel the music just as it is, complex on the surface, but direct and straight from the heart, Inch BBC Music Magazine.Elgar and Faure met once at the time of the London premiere of Elgar's First Symphony in 1908. Although Faure spoke no English and Elgar's French wasn't exactly conversational, it's fascinating to compare the musical language of their two quartets, both in the key of E minor, and written late in the composers' lives. Edward Elgar was a more than competent violinist, and he made several attempts throughout his career to write a string quartet. Finally, ill and depressed by war-time London in 1918, he completed his String Quartet, Op. 83. It is cast in three movements, the outer Allegro movements bookending one marked Piacevole (poco andante). This slow middle movement, which contains a quotation from Elgar's Chanson de Matin, was aArtistCatherine KingTitleElgar & Faure: String QuartetsFormatCDLabelSomm Recordings
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The newest from SOMM Recordings is an unusual but exciting pairing of two string quartets by British and French contemporaries Sir Edward Elgar (1857-1934) and Gabriel Faure (1845-1924). Also included is a collection of shorter gems transcribed for string quartet by the British composer, arranger, and pianist Iain Farrington. These comprise Elgar's Carissima (originally composed for small orchestra) and selections from Faure's Piano Preludes Nos. 4, 8, and 9, this last described by Aaron Copland as being Inchso absolutely simple that we can never hope to understand how it can contain such great emotional power.InchThis recording features the Eusebius Quartet, formed in 2016 out of a passion for the extraordinary music written for this instrumentation, and praised as InchexcellentInch by The Sunday Times. Their debut CD for SOMM of the Korngold Piano Quintet & Quartet (SOMMCD 0642) received critical acclaim InchWit and clarity abound in the Quartet's Viennese-sounding performances, Inch The Strad; InchThe musicians seem to feel the music just as it is, complex on the surface, but direct and straight from the heart, Inch BBC Music Magazine.Elgar and Faure met once at the time of the London premiere of Elgar's First Symphony in 1908. Although Faure spoke no English and Elgar's French wasn't exactly conversational, it's fascinating to compare the musical language of their two quartets, both in the key of E minor, and written late in the composers' lives. Edward Elgar was a more than competent violinist, and he made several attempts throughout his career to write a string quartet. Finally, ill and depressed by war-time London in 1918, he completed his String Quartet, Op. 83. It is cast in three movements, the outer Allegro movements bookending one marked Piacevole (poco andante). This slow middle movement, which contains a quotation from Elgar's Chanson de Matin, was a
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If a chamber music ensemble can stand together in the same lineup for 25 years, it must be doing something right. The Faure Quartett can be assumed to be doing so As one of the world's leading piano quartets, the four musicians are at the zenith of chamber music, touring the world's most important venues and breaking down musical boundaries with their recordings. Their Pop Songs album was followed by Mussorgsky's Pictures at an Exhibition and Rachmaninov's etudes-Tableaux in 2018, which have never been heard so rousingly before. On the occasion of the 25th anniversary of it's foundation, the quartet turns it's attention to a composer who is at the same time both long overdue and right now perfectly fit to be recorded properly Gabriel Faure. The Faure Quartet has fond memories of these phases of self-exploration and laying the foundations of a piece. The quartet was able to afford the luxury of independent maturity and managed to transform the apparent shortcoming of such a fixed instrumentation into a quality. It is not a trio that treats itself to a pianist, neither is it a string quartet that gives one violin a temporary leave of absence, and nor is it a piano soloist who enhances inherent keyboard timbres by augmenting these with a few extra string players. It remains an ensemble that takes itself seriously in it's particularity and benefits from the qualities of four characters who can stand up to each other even over long stretches of time. And it is a team that does not see itself as too superior not to practice the same thing over and over again until a point is reached at which an invisible boundary is crossed, one that leads from mere interpretation to actual embodiment.
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