Infotext:
Das international renommierte Henschel Quartett feierte seine heißersehnte Wiederkehr im United Kingdom mit einem Konzert in der Londoner Wigmore Hall am 23. July 2008 (zusammen mit dem berühmten japanischen Viola-Star Kazuki Sawa), wo es das kürzlich wiederentdeckte Streichquintett in Es-Dur von Max Bruch zur Uraufführung brachte.
Das Quintett dauert knapp 20 Minuten. 1918 als Begleiter seines a-moll Streichquintetts vom 80-jährigen Bruch komponiert, wurde es nie öffentlich aufgeführt. Das von Bruchs Schwiegertochter kopierte Werk wechselte mehrfach den Besitzer – 2006 erwarb ein privater Sammler die Noten und machte sie erstmals zugänglich (inzwischen im Henle Verlag erschienen).
NEOS legt nun diese willkommene Entdeckung – flankiert von zwei Mendelssohn-Streichquintetten – als Hybrid-SACD vor und feiert damit zugleich zwei weitere Ereignisse: den 15. Geburtstag des Henschel Quartetts sowie die hiermit begonnene exklusive Zusammenarbeit von NEOS mit den drei Geschwistern Henschel (Christoph & Markus, Violine / Monika, Bratsche) und deren kongenialem Partner Mathias Beyer-Karlshoj, Violoncello.
Programm:
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Felix Mendelssohn Bartholdy (1809–1847) [02] Intermezzo. Andante sostenuto 07:59 Max Bruch (1838–1920) Felix Mendelssohn Bartholdy [10] Andante scherzando 04:10 total time 76:12 Henschel Quartett |
Pressestimmen:
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Bruch e Mendelssohn: Quintetti per archi Il Quartetto Henschel, formato da Christoph e Markus Henschel (violini), Monika Henschel (viola) e Mathias Beyer-Karlshøj (violoncello), rappresenta uno degli ensemble più prestigiosi sulla scena internazionale e, non caso, ha avuto lo scorso marzo l’onore di tenere un concerto in Vaticano, legato ai festeggiamenti per l’onomastico di Papa Benedetto XVI. Numerose sono le incisioni del quartetto tedesco e, fra le più recenti, vi segnaliamo un cd della Neos Classics (reso possibile anche grazie al supporto economico della Fondazione spagnola BBVA), che comprende i due Quintetti per archi di Mendelssohn ed il Quintetto in mi bemolle maggiore di Bruch. Per quanto riguarda i primi, il Quintetto n. 1 in la maggiore, op. 18, che risale al 1826, pur scritto successivamente al più noto Ottetto per archi, op. 20, presenta un numero d’opera inferiore in quanto, così come si può riscontrare anche nella catalogazione delle Sinfonie, i lavori di Mendelssohn furono numerati considerando l’anno di pubblicazione e non quello di produzione. Va ancora ricordato che tale brano fu rivisto dall’autore nel 1832, che sostituì il minuetto del secondo movimento con un Intermezzo, dedicandolo alla memoria del violinista Eduard Rietz, suo grande amico morto proprio quell’anno. Dal canto suo, il Quintetto n. 2 in si bemolle maggiore, op. 87, composto nel 1845, pur appartenendo ad un Mendelssohn ormai maturo, può essere considerato un ponte ideale con il lavoro scritto circa venti anni prima, poiché mantiene quasi inalterate le doti di slancio e freschezza che caratterizzavano il pezzo giovanile. Un discorso a sé merita il tedesco Max Bruch (1838-1920), noto quasi esclusivamente per il Concerto n. 1 in sol minore, op. 26 per violino ed orchestra, che ha finito per offuscare tutto il resto della sua produzione, consistente, fra l’altro, in tre sinfonie, altri due concerti per violino, musica da camera, opere e numerosi lieder. Una vera e propria maledizione, che negli ultimi anni sembra sia giunta al termine (nel senso che non viene ricordato nemmeno più per quel concerto), e quindi veder inciso un suo quintetto già di per sé va annoverato come un evento. Inoltre aggiungiamo che il brano è in prima registrazione mondiale, in quanto la partitura originale del 1918 è andata distrutta durante la seconda guerra mondiale, per cui il pezzo era ritenuto irrimediabilmente perso. Invece, una copia dello spartito, in precedenza proprietà della nuora di Bruch e poi passato in mano a privati, è riemersa in anni recentissimi, durante una vendita all’asta di Sotheby’s, ed in seguito è stata pubblicata dalla G. Henle Verlag di Monaco, divenendo di patrimonio comune. Dal punto di vista musicale è possibile osservare come Bruch, nel suo quintetto, passi in rassegna i capisaldi della musica da camera del secolo ormai alle spalle, mostrando di preferire il modello mendelssohniano rispetto a quello brahmsiano. Non dobbiamo dimenticare, inoltre, che Bruch scrisse questo pezzo intorno agli ottanta anni, per cui traspare anche una forte nostalgia per il tempo andato, che raggiunge l’apice nel movimento finale, costruito sul motivo che chiudeva la sua Sinfonia n. 3, pubblicata nel 1887. Uno sguardo agli interpreti, partendo dal Quartetto Henschel, ensemble molto affiatato e di altissimo livello, dotato di un suono morbido e raffinato, che si conferma interprete privilegiato della musica da camera di Mendelssohn, facendo affiorare, nei minimi particolari, una scrittura che presenta molte affinità con le opere di maggior respiro dell’autore tedesco. Relativamente a Bruch, il quartetto riesce nell’intento di far emergere il suo stile essenzialmente romantico, portando nel contempo alla ribalta, in prima esecuzione assoluta, un brano di notevole interesse. Ottima risulta anche la prova dei due solisti, il giapponese Kazuki Sawa ed il tedesco Roland Grassl, impegnati alla viola, rispettivamente nei brani di Bruch e Mendelssohn, che si sono ben amalgamati con un quartetto così compatto come l’Henschel, fornendo il loro apporto di grandi esecutori. In conclusione un cd di estremo valore, grazie al quale possiamo avere una precisa idea del contributo di due autori tedeschi, il primo, Mendelssohn, ancora oggi molto noto, il secondo, Bruch, quasi completamente dimenticato, ad una forma cameristica meno usuale, quale quella del quintetto d’archi. Marco del Vaglio
Mendelssohn komponierte bereits als 17jähriger das Streichquintett op. 18, zu der Zeit, in der auch seine berühmte Sommernachtstraum-Ouvertüre entstand. Der Verlag zeigte kein Interesse und ließ das Werk drei Jahre unveröffentlicht liegen. Die Verzögerung der Drucklegung hatte auch seine guten Seiten: Mendelssohn fügte in der Zwischenzeit ein wundervolles Adagio hinzu. An Mendelssohns harscher Selbstkritik scheiterten viele seiner schönsten Werke – so auch sein Streichquintett op. 87. Vier Jahre nach seinem Tod konnte es der verblüfften Öffentlichkeit vorgestellt werden als reifes Spätwerk, das während der Arbeit am „Elias“ entstanden war. Die Streichquintette finden sich auch in interessanter Koppelung mit dem kürzlich erst entdeckten und nun ersteingespielten Streichquintett Es-dur von Max Bruch, aufgeführt vom renommierten Henschel Quartett (erschienen auf NEOS 30901 als Hybrid-SACD).
Max Bruch, Felix Mendelssohn Bartholdy Warum addiert ein Komponist zum “idealen” Streichquartett noch eine fünfte Stimme, sei es zweite Bratsche oder zweites Cello? Die Antwort gibt ein verblüffter Robert Schumann: “Hat man im Quartett vier einzelne Menschen gehört, so glaubt man jetzt eine Versammlung vor sich zu haben.” Zweite Bratsche oder zweites Cello sind also Bindeglieder zwischen Kammer- und Orchestermusik, sie öffnen den Klang weit mehr als mit nur einer Stimme. Das demonstriert diese Aufnahme mit zugunsten des Orchestralen verschobener Gewichtung: Die Henschels plus Kazuki Sawa (Bruch) bzw. Kazuki Glassl musizieren eher handfest-volltönend als kammermusikalisch ausdifferenziert. Aber beide Seiten gleich stark zu beleuchten, wäre auch schwierig. Und bei allzu viel Getüftel droht Zerfall. Andererseits, muss man Mendelssohns überaus spannende Genrebeispiele, das Jugend- und das Spätwerk, unbedingt mit Max Bruchs ziemlich akademischem Diskurs koppeln? Warum nicht zum Beispiel das Opus 88 von Johannes Brahms, das er selber “ein Frühlingsprodukt” nannte? Bruch ist immer der schwächere Brahms. Aber nein: Max Bruch, dessen spätes Streichquintett die Henschels & Co. überhaupt erst 2008 in Londons Wigmore Hall uraufführten, ist das Zentrum der Aufnahme – und Mendelssohn die Füllung! Das Bruch-Stück erscheint denn auch noch genauer gearbeitet und mit höherer Identifikation vorgetragen als Mendelssohns Tandem. Das macht es letztlich zwar nicht besser, als es ist – aber den Repertoirewert der Veröffentlichung hebt es durchaus.
Thomas Rübenacker
Maria-Elisabeth Ranft
String Quintets No 1 in A, No 2 in B flat; String Quintet in E flat Henschel Quartet, Roland Glassl, Kazuki Sawa (violas) Neos Classics NEOS30901 Now that Mendelssohn’s quartets have finally been recognised at their true worth and taken up widely, perhaps the time of his two quintets has come. No 1, Op 18, composed between the Octet and the A minor quartet, when he was 17, may not equal those superb works, but – as this excellent performance demonstrates – it is a most attractive piece, and shows Mendelssohn using the medium as a means to ever richer textures. No 2, Op 87, composed 20 years later and beautifully played, takes the process further, with its copious tremolo and dense tuttis. Its energy and invention also explode the myth of Mendelssohn’s creative decline. The Max Bruch quintet, only premiered, by the Henschel, last year (after the discovery of a manuscript), is a pleasant addition to the repertoire. DC
Abgesang auf die Romantik Heutzutage verbindet man mit Max Bruch fast nur das Violinkonzert g-Moll op. 26. Dabei ist das Werk des Komponisten vielseitig, reicht bis hin zur Symphonik. Erst vor wenigen Jahren wiederentdeckt und von den Erben Bruchs freigegeben wurde das im Jahr 1918 entstandene Streichquintett in Es-Dur. Während das Autograf offenbar im Zweiten Weltkrieg zerstört wurde, hat sich eine von Bruchs Schwiegertochter Gertrude angefertigte Abschrift in Privatbesitz erhalten. Das Quintett wurde am 23. Juli 2008 vom Henschel Quartett in der Londoner Wigmore Hall uraufgeführt. Nun haben die vier Musiker – der Primgeiger Christoph Henschel lebt in Mering südlich von Augsburg – das Werk in der Uraufführungsbesetzung, also mit Kazuki Sawa an der zweiten Bratsche, zum ersten Mal überhaupt eingespielt. Bruchs Reminiszenz an die eigene Vergangenheit Vor dem Hörer entfaltet sich ein Abgesang auf die romantische Musiziertradition des 19. Jahrhunderts. Zwar scheint das Andante con moto noch etwas auszufransen, erinnern die Einleitungstakte dezent an den Beginn von Smetanas unverwüstlicher „Moldau“ (womöglich hätte Bruch dies noch klarer strukturiert), der dritte Satz ist dann aber von hinreißender, nicht niederschmetternder Melancholie. Im Finale des vierten Satzes verarbeitet Bruch im Hauptthema das Finale seiner Symphonie Nr. 3 op. 51 – eine Reminiszenz an die eigene Vergangenheit. Die fünf Musiker schwelgen stilvoll in dieser Stimmung, tragen aber nicht zu dick auf. Ein Fundstück für Freunde spätromantischer Musik. Klangliche und instrumentale Querverbindungen tun sich auf Rund um das Bruch-Werk gruppieren die Kammermusiker, diesmal mit Roland Glassl an der zweiten Viola, zwei Stücke von Felix Mendelssohn-Bartholdy. Beim Streichquintett Nr. 1 A-Dur op. 18 und Nr. 2. B-Dur op. 87 verwendet Mendelssohn, ebenso wie Bruch die „Wiener Besetzung“, also zwei Bratschen. Es ergeben sich nicht nur klangliche Querverbindungen. Bekannt für ihre Mendelssohninterpretationen erweisen sich die „Henschels“ mit ihrem Gast erneut als wahre Experten für den Komponisten. Bezeichnend ist, dass Mendelssohn in seiner Klarheit mitunter moderner anmutet als Bruch. Erschienen ist die im Klangbild sehr natürliche CD beim neuen Label Neos Music GmbH. Besitzer eines Super-Audio-CD-Geräts mit Surroundfunktion haben den Eindruck, ein Streichquartett im Wohnzimmer zu haben. Max Bruch, Streichquintett in Es-Dur, Henschel-Quartett, Neos Music 30901. Gerald Lindner
Recording of the Year This outstanding release from the Henschel Quartet marks their recording debut for the Neos Classics label. A fascinating Max Bruch world première is further cause for celebration. I have followed the career of the Henschel closely since reviewing their recording of Mendelssohn’s ‘Complete string quartets’ for Sony/BMG on Arte Nova Classics 82876 64009 2. For MusicWeb International I compared the Henschel’s recording with what I considered to be the finest alternative sets: Emerson/Deutsche Grammophon; Talich/Calliope; Aurora/Naxos; Bartholdy/Arts Music Red Line and the Pacifica/Cedille. Not only were the Henschel my premier recommendation, I felt their performances were such a remarkable artistic achievement that I confidently acclaimed the set as my 2005 ‘Record of the Year’ (see my comparative review <http://www.musicweb-international.com/classrev/2005/July05/Mendelsson_Quartets_comparative.htm> ). The same year they followed up their Mendelssohn with a quite outstanding recording of Beethoven’s Quartet in B flat major, Op. 18/6 ‘Lobkowitz’ and Quartet in E flat major, Op. 127. Deserving of the highest praise the recording can compete with the finest versions around (Sony/BMG on Arte Nova Classics 82876 63996 20 <http://www.musicweb-international.com/classrev/2005/Sep05/Beethoven_Henschel_82876639962.htm> ). I thought the Munich-based quartet exceptional when I first heard them in recital at Richmond in 2005. Since then they have developed an even rounder tone. Scrupulous preparation, indubitable professionalism and broad experience are qualities that have provided an even greater assurance to their interpretations. See the Henschels website <http://www.henschel-quartett.de/henschel.html> : The Strad in April 2007 carried an article <http://www.henschel-quartett.de/download/the_strad_article.pdf> on them. On 1 July 2009 the Henschel celebrated their anniversary of 15 years with the same line-up playing recitals at their three day annual musical festival at the old monastery at Seligenstadt, near Frankfurt. Having attended several of their recitals I have witnessed their rapid ascent into the exclusive top rank of ensembles on the world stage. They follow in the footsteps of the great Amadeus, LaSalle, Melos, Italiano and Alban Berg quartets – all standard-bearers from a previous golden generation. Chamber music lovers are fortunate to have performers of the foremost quality of the Henschel and Emerson on the scene today. Lynchpin of the quartet Christoph Henschel is undoubtedly one of the finest first violins around today. Playing his 1721 ‘Cobbett’ Stradivarius he leads with impeccable tuning and a magnificent silvery timbre. Second violinist Markus Henschel plays a 1725 Stradivarius and Monika Henschel-Schwind a rich-toned Gasparo da Salò viola from 1565-1600. Cellist Mathias Beyer-Karlshøj has chosen to use a fifty year old Hjorth cello. All four instruments have modern set-ups with contemporary strings and bows. A testimony to their assiduousness and sheer hard work this release is a veritable delight. Alongside the Mendelssohn quintets we have a world première recording of Bruch’s String Quintet in E-flat major. For the Bruch they are seamlessly augmented on second viola by the services of Japanese string player Kazuki Sawa. For the Mendelssohn works German violist Roland Glassl works with the Henschel. Outstanding is the unanimity of ensemble and immaculate intonation. Devoid of any hint of ostentation there is a natural feel to their phrasing together with an insightful grasp of structure. As I have come to expect their careful use of vibrato and choice of tempi feels just right. I played this hybrid SACD on my standard players and was delighted by the clarity of sound and the excellent balance. Interesting and informative booklet notes add to this splendidly presented disc. The increasing popularity of the music of Max Bruch is sweeping away the myth that he is a one-work composer known only for his famous G minor Violin Concerto. At the several Recorded Music Societies that I attend Bruch is one of the most frequently chosen composers by the members. In addition to Bruch’s best known scores there are a number of lesser known gems that deserve general discovery namely the: Double Concerto for two pianos; Op.88a; Double concerto for clarinet and viola, Op.88 (also version for violin and viola); Romance for viola and orchestra, Op.85; Swedish Dances, Op.63; Suite after Russian Folk Songs, Op. 79b and the Serenade on Swedish Folk Melodies (1915). Bruch was also very active in the field of chamber music with scores ranging from the Eight pieces for clarinet, viola and piano, Op.83; two String Quartets, Op. 9/10; a Septet for wind and strings (1849) to a String Octet (1920). There is also a large amount of sacred and secular choral works, and many songs in his substantial output much of which is rarely heard. In a manner similar to that of Brahms the eighty year old Bruch undertook a flurry of chamber music activity in the last couple of years of his life spent in retirement in Berlin. After the horrors of the First World War in this Indian-summer of creativity Bruch began writing his String Quintet in E-flat major in 1918; the String Quintet in A minor in 1918/9 and a String Octet in the early months of 1920. Many will be familiar with the 1997/8 Baden-Baden recording of the String Quintet in A minor and Octet performed by the Ensemble Ulf Hoelscher on CPO 999 451-2 (c/w Bruch Piano Quintet). Bruch’s biographer Christopher Fifield has stated that the manuscripts of the trio of unpublished chamber scores and other works were assigned by the composer’s three surviving children to the care of publisher Rudolf Eichmann. Along with several other scores they vanished and were thought destroyed or missing in the Second World War. Fortunately Bruch’s daughter-in-law Gertrude Bruch had prepared hand written copies of all three scores. Fortuitously her copies of the String Quintet in A minor and String Octet turned up in the BBC Music Library, London. The whereabouts of Bruch’s E flat major String Quintet was not known for many years and thought lost. Then in the 1980s Gertrude Bruch’s hand-written copy emerged in private hands and was subsequently bought at a Sotheby’s auction by the German music publisher Henle in July 2006. Thankfully all three scores are now available in published editions. In July 2008 the Henschel together with second violist Kazuki Sawa were entrusted with what was claimed to be the world première performance of the Bruch E flat major Quintet at the Wigmore Hall, London. In the opening movement of the Bruch marked Andante con moto the five string voices just melt gloriously together. I felt suffused by music evocative of golden sheaves of corn awaiting harvest gently swaying in a warm breeze. Truly this is playing that I didn’t want to end. The relaxing atmosphere of the opening movement immediately vanishes in the amenable Allegro a movement that the Henschel and Sawa propel forward unstintingly with abundant exuberance. What a marvellous surprise it was to hear the comforting music of the Andante con moto for the first time. With playing of this elevated standard I am inspired to write in the manner of the poet W.B. Yeats that ones soul feels at ease and ones heart has found peace. This Andante is surely one of Bruch’s most glorious offerings. In the varying mood-swings of the final Andante con moto – Allegro ma non troppo vivace the music radiates the joy and rapture of heady summer days. At 1:18-2:12 Bruch lets loose with energetic writing of passionate fervour. Again at 3:34-4:17 the high-stepping music returns with dynamic zest and vitality. With considerable confidence the Henschel and Sawa close the score with a sense of bold carousing. Whereas Bruch’s score came at the end of his life, Mendelssohn’s String Quintet No. 1 in A major was a product of his youth composed in the spring of 1826. Following the death of violinist Eduard Reitz in 1832, Mendelssohn wrote a replacement movement, an Intermezzo to serve as a memorial to his friend and teacher. Cast in four movements the score was published in 1833 as his op. 18. The extended opening movement of the String Quintet No. 1 marked Allegro con moto is confidently rendered enfolded in brooding tenderness. Mendelssohn’s often flamboyant writing for the first violin is evident. For a sad lament the tempi of the Intermezzo – Andante sostenuto feels just right. This is not a movement where Mendelssohn wears his heart on his sleeve. Contrapuntal in design with fugato passages, the bright and good-humoured yet restless Scherzo – Allegro di molto is interpreted with considerable energy whilst maintaining a crucial degree of delicacy. At points 1:56-2:41 and 2:54-3:30 Mendelssohn seems to hint at the amusement of a Scottish reel. Aggressive ‘jabs’ from the cello at 2:41-2:54 make a considerable impression. In the brisk and extrovert finale Allegro vivace I love the way the forthright players ensure that the music just cascades along. Mendelssohn’s String Quintet No. 2 in B flat major, Op. 87 dates from 1845 – a late work composed at Bad Soden during a time of illness. The four movement score had to wait until 1851 for its posthumous publication. The opening Allegro vivace inhabits a rather agitated sound-world over a prevailing sense of urgency. One notices how Mendelssohn again gives the first violin part considerable attention. Cheerful and lyrical the marvellously written Andante scherzando is light on its feet. Here one can imagine novice dancers swirling around on an over-waxed dance floor. Beautiful if containing somewhat dark melodies the dense textures of the splendid Adagio e lento are remarkably portrayed. With writing of a temperamental and unpredictable feel Mendelssohn ensures that the listener never seems to know what is coming next. Hyperactive and rather inhospitable the final movement Allegro molto vivace is vigorously played here, conveying heightened tension. There are surprisingly few recordings of Mendelssohn’s Quintets. Of those that I have heard the version from Hausmusik London has been the most satisfying. The double set was recorded using period instruments at York University in 1989 and East Woodhay, Berkshire in 1993 on Virgin Veritas 7243 5618092 5 (c/w Mendelssohn String Quartet No.2 and Octet). Another version of some note is from the Fine Arts Quartet with guest violist Danielo Rossi who recorded them together with the original third movement Minuetto from the String Quintet No. 1. The Fine Arts recording was produced in 2007 at Steinfurt, Germany on Naxos 8.570448. This release is a remarkable artistic achievement for the augmented Henschels that should be snapped up immediately. Michael Cookson
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