Mendelssohn: String Quartets Nos. 1 & 2; Fugue Op. 81/4

On this CD:

1. String Quartet No. 1 in E flat major, Op. 12
Composed by Felix Mendelssohn
Performed by Vellinger String Quartet

2. String Quartet No. 2 in A minor, Op. 13
Composed by Felix Mendelssohn
Performed by Vellinger String Quartet

3. Fugue for string quartet in E flat major, Op. 81/4
Composed by Felix Mendelssohn
Performed by Vellinger String Quartet

Tracks:

String Quartet In E-Flat Major, Op. 12: I. Adagio non troppo - Allegro non tardante
String Quartet In E-Flat Major, Op. 12: II. Canzonetta. Allegretto
String Quartet In E-Flat Major, Op. 12: III. Andante espressivo
String Quartet In E-Flat Major, Op. 12: IV. Molto allegro e vivace
String Quartet In A Minor, Op. 13: I. Adagio - Allegro vivace
String Quartet In A Minor, Op. 13: II. Adagio non lento
String Quartet In A Minor, Op. 13: III. Intermezzo. Allegretto con moto - Allegro di molto - Tempo I
String Quartet In A Minor, Op. 13: IV. Presto - Adagio non lento - Adagio come I

Amazon.com

Founded in 1947, the Juilliard is the oldest American string quartet but has undergone several personnel changes. The present constellation was formed in 1997; this is its debut recording. It is superb. Tonal homogeneity was never the group's first priority, but the players have already achieved an extraordinary degree of technical, musical, stylistic, and expressive integration. Their intonation, balance, and pacing are impeccable; their rhythmic flexibility, dynamics, mood, and tempo changes unanimous. Joel Smirnoff, formerly second, now first violinist, has a brilliant technique and an exceptionally beautiful, warm, sweet, intense, variable tone, just right for the ardor, passion, exuberance, and inward serenity of these mercurial works, written when Mendelssohn was not yet 20 but displaying incredible compositional skill and emotional maturity. Op. 13, written first, pays homage to Beethoven with virtual quotes from the quartets Op. 95 and 132. Both are vintage Mendelssohn with their beguiling, songful melodies that recur through all the movements; their partly wistful, partly scintillating intermezzos; and their poetic, rapturous romanticism. --Edith Eisler

Mendelssohn: String Quartets Nos. 1 & 2; Fugue Op. 81/4

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Mendelssohn: String Quartets Nos. 1 & 2; Fugue Op. 81/4

Manufacturer: Quicksilva Records
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

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Tracks:

String Quartet No.1 In E Flat, Op.12: First Movement: Adagio Non Troppo - Allegro Non Tardante
String Quartet No.1 In E Flat, Op.12: Second Movement: Canzonetta. Allegretto
String Quartet No.1 In E Flat, Op.12: Third Movement: Andante Espressivo
String Quartet No.1 In E Flat, Op.12: Fourth Movement: Molto Allegro Vivace
String Quartet No.2 In A Minor, Op.13: First Movement: Adagio - Allegro Vivace
String Quartet No.2 In A Minor, Op.13: Second Movement: Adagio Non Lento
String Quartet No.2 In A Minor, Op.13: Third Movement: Intermezzo. Allegro Con Moto - Allegro Di Molto - Tempo I
String Quartet No.2 In A Minor, Op.13: Fourth Movement: Presto - Adagio Como Prima
Fugue In E Flat, Op.81 No.4

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Mendelssohn: String Quartets Nos. 1 & 2
Mendelssohn , and Cherubini Quartet
Manufacturer: Emi Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00012SZ18
Release Date: 2004-05-04

Mendelssohn: String Quartets Op. 44 Nos. 1 & 3; Capriccio, Op. 81/3; Fugue, Op. 81/4

Average customer rating:

Satisfying performances, up there with the best

Mendelssohn: String Quartets Op. 44 Nos. 1 & 3; Capriccio, Op. 81/3; Fugue, Op. 81/4

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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ASIN: B000002ZRT
Release Date: 1993-09-01

Customer Reviews:

Satisfying performances, up there with the best.......2002-05-20

As with Schumann, Schubert and Brahms, the big question with Mendelssohn is "classical or romantic"? The music has plenty
of potential for intense emotional expression, but is written in a tightly structured way which doesn't allow for much indulgence in the usual "expressive" apparatus of rubato, wide vibrato or "big" tone. The problem for the performers is how to achieve interest and emotional involvement while respecting the details of the score - not an insoluble problem, since Mendelssohn was absolutely at home with the string quartet medium and knew exactly how to express himself in it. Still, since no score can tell you exactly how loud or fast to play, the performers' imagination and taste are crucial in realising this.

Mendelssohn, in these works, is the most "classical" composer of string quartets after Haydn and Mozart: most of the tempos are moderate to brisk, there are no extreme harmonies or rhythms, and no attempt to burst the mould of the string quartet with something radically new (a la Beethoven). But these works are still minor masterpieces, on a level with Mozart's quartets - the music keeps its interest by superb craftsmanship with every few bars bringing a new detail or turn of expression. The composer shows his characteristic genius for creating moods - each movement has its own atmosphere - and also for original textures, showing that there were still new sounds to be got from the string quartet. Only very occasionally might you feel that it is "just another Mendelssohn allegro" (for example).

The Coull Quartet, playing mostly with restrained vibrato and moderate accentuation, avoid the usual trap of trying to "put in" too much expression, which usually results in overheated, tiring performances. There is the occasional "portamento" (slide) - but this practice is perfectly stylish, and the music virtually requires it at some points: here, always tastefully done. The tempos are also well-judged - I didn't once think to myself "if only this were slower" (or faster!) - a pretty rare occurrence. The rhythms are near perfect, the intonation pretty good, and all players have good singing legato both in loud and soft dynamic (it's amazing how some "reputable" violinists can't play softly without desperate, and usually unsuccessful, attempts to cover up their poor tone!). This is beautifully demonstrated in the "menuetto" of the D major quartet where the first violin has a long, high line over sustained chords: the passage is extremely quiet and is performed in tempo and virtually "vibrato-free", but the effect is ethereal, almost ghostly, rather than pedantic or stiff, thanks to the superb control of tone and dynamic.

The string tone is fairly light, which allows the details of the lower voices to be easily audible. However, in louder passages the music sometimes calls for a strong, dominant tone from the first violin, almost like a concerto - the leader's tone is rather thin in such passages, not quite up to the role of soloist, although at least he doesn't try to cover it up by "forcing" the tone with heavy accents or ugly vibrato.

The approach of letting the music "speak for itself" works well here: it's not that there is no drama in the performance, but the score is interesting enough that just observing the markings, with an understanding of what the composer was trying to achieve, is a successful recipe. In this case, the Coulls have a persuasive grasp of Mendelssohn's intentions, and the technique to put it into practice.

Ernst Toch: String Quartets Op 26 & 70 / Divertimento Nos. 1 & 2
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Ernst Toch: String Quartets Op 26 & 70 / Divertimento Nos. 1 & 2
The Mendelssohn Quartet
Manufacturer: Laurel Record
ProductGroup: Music
Binding: Audio CD

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ASIN: B000007QLS
Release Date: 1998-05-19