Even though Franz Joseph Haydn is widely credited as the father of the string quartet, the Casal Quartet makes a startling claim that the honor may belong to Franz Xaver Richter, whose seven String Quartets, Op. 5, seem to have determined the character of the genre, from their first performance by Carl Ditters von Dittersdorf's quartet in 1757. Richter's quartets preceded Haydn's and Boccherini's earliest efforts by several years, suggesting that they were likely influential. Furthermore, the sophistication and polish of his Op. 5 suggests that he may well have composed other such quartets, though if he did, they are lost.
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The musicians can play each in their own keys or their own rhythms, but for the listener who encounters the totality what is manifested is a quivering figure, an oscillating but quite clear gesture, in descending or ascending motion or arches. - Liner notes
The Mandelring Quartet plays with unflinching resolve, sympathetic expression, incisive attacks, and penetrating tone, which are all necessary in Shostakovich's sardonic and frequently bitter language.
Born in Toledo, Manuel Canales (1747-1786) moved to Madrid around 1770 and entered into the service of the Duke of Alba. A frequent visitor to the court of King Carlos III, he likely associated with his more famous contemporary, Luigi Boccherini, who was also in this flourishing cultural center at the same time. Canales' string quartets show a familiarity with his work, as well as with the early compositions of Haydn.
Originally published in London, these 3 quartets form the first half of Op.3. The only known chamber works of Canales, these compositions follow the usual four movement format, although they place the Minuet as the 2nd movement, instead of the more customary 3rd position.