New Release : Grieg & Mendelssohn
The first recording of the David Oistrakh Quartet received much praise from the press (“No sooner formed, this young quartet already reaches excellence.”). Achieving comparison with the Borodin and the Beethoven Quartets, this young group offers an impassioned performance of Grieg and Mendelssohn: a powerful, contrasted, physical and always subtly emotional performance.
Total time: 64’37
Digipak / Booklet 16 pages
Liner notes by Michel Stockhem in English, French, German and Russian
Recorded in Flagey – Studio 4, Brussels (Belgium) from 24 to 27 July 2015
Producer, sound engineer and editing: Frédéric Briant
Contact: Olivier Vannieu – Tel. +32 497 39 33 39 – E-mail. firstname.lastname@example.org
The first disc of the David Oistrakh String Quartet met with praise from the press. Earning comparison with the Borodin Quartet and the Beethoven Quartet, this young group returns with impassioned performances of Grieg and Mendelssohn.
The Quartet in G minor should be considered the only quartet entirely written by EdvardGrieg, and it is a major work in the repertory. Written in 1878, its composer was then in full possession of his talents and was using an instantly recognisable modern language inspired by traditional national sources. For him, tackling the composition ofa quartet was a huge challenge as his fame had thus far been based on the cultivation of small forms, for the piano, though also songs, and indeed he took one of his lieder, Spillemaend(Minstrel), as the main theme of his quartet. The work, written in a musical language that was innovative for the time, quickly acquired great popularity and was to influence many composers.
Like many of his contemporaries Felix Mendelssohn was deeply marked by Beethoven, and was full of admiration for his quartets. Like Grieg, he took inspiration from one of his own themes to construct his Quartet No.2, that of his lied Frage(Question). Written just after Beethoven’s death, his mourning produced a work of extraordinary maturity and tempestuousness, even if the work ends in serenity. Beneath a homage to Beethoven lies hidden a surge of love, that of a young man moving out of his teenage years, yet already an absolute master of his art and ready to lay claim to his elder’s torch.
“No sooner formed, this young quartet alreadyreaches excellence.” “It is a joy to see the birth of a new quartet of international class, excellent in every respect.” “A group to be followed closely.” “A phenomenal decryption… that is never toned down”: such is the welcome accorded to the David Oistrakh Quartet, led by the violinist Andrey Baranov, for its first recording. Their powerful, contrasted, physical yet always subtly emotional performance suits these two new works in the repertory to a wonderful degree.