Through his far-reaching endeavors as composer, performer, educator, and ethnomusicolgist, Béla Bartók emerged as one of the most forceful and influential musical personalities of the twentieth century. Born in Nagyszentmiklós, Hungary (now Romania), on March 25, 1881, Bartók began his musical training with piano studies at the age of five, foreshadowing his lifelong affinity for the instrument. Following his graduation from the Royal Academy of Music in 1901 and the composition of his first mature works – most notably, the symphonic poem Kossuth (1903) – Bartók embarked on one of the classic field studies in the history of ethnomusicology. With fellow countryman and composer Zoltán Kodály, he traveled throughout Hungary ……..From Allmusic
Grechaninov tends to be remembered rather tepidly as a conservative relic from Imperial Russia. Yet his progress as a child of the 1860s went as far as one might reasonably expect, from the healthy absorption of 19th-century Russian masters in the Op. 2 Quartet, his self-styled ‘first large independent work’, to the chromatic experimentation of the D minor Quartet, composed in 1913. They make a pretty pair. The warm, slightly laid-back approach of the likeable Utrecht Quartet fits the simple folksiness of the earlier piece like a delicately fashioned glove, making modest claims for a humble offshoot of Borodin’s glorious Second Quartet, with a discreet dash of Tchaikovskian melancholy. A more urgent, forward-moving approach would surely make a better case for the seemingly fragmented gestures of Op. 70’s opening movement; but first violinist Eeva Koskinen’s unaffected way with the Largo melody before fugal earnestness takes over is ideal, and an equally natural robustness highlights Grechaninov’s instinctive if hard-fought goodbye to chromaticism in much the more successful and meaningful of the two finales. Worth investigating, but there’s no doubt that Taneyev is a long way in front of Grechaninov as master of turn-of-the-century Russian chamber music.
Since its formation in 1982 the Salomon String Quartet has established its position as one of the world's leading ensembles specialising in the historical performance of the classical string quartet repertoire. The quartet has toured extensively in Europe, the USA, the Far East, Israel and Australia as well as making regular appearances at British music societies and festivals. It has made many records for Hyperion and given numerous radio and television broadcasts. In addition to the music of Haydn, Mozart, Beethoven and Schubert, which forms the basis of its repertoire, the Salomon Quartet has always been committed to the exploration and performance of the wealth of quartet music written by their contemporaries.
This limited edition for the Haydn Bi-Centenary is a bargin price reissue of renowned Aeolian Quartet recordings from the 1970's. They are brilliantly played the late analogue sound has been well remastered by Decca. It is strange there are so few complete recordings of these quartets as the music is quite superb. From the early 'divertimento' type pieces through to the profound later works there is never a dull moment.
In 1827, when writing his Quartet in A minor, Op.13, the 18-year-old Felix Mendelssohn was especially interested in Beethovens late quartets at a time when these works were generally written off as confused fantasies of a deaf musician. Mendelssohn's debt to Beethoven is evident in the important role of polyphonic techniques, particularly in the focus on cyclical connections between movements. Ten years on, Mendelssohn composed the three quartets, Op. 44, the D major quartet that closes the present disc the last of these to be completed; on publication, however, Mendelssohn placed it first in the set. Besides the seven complete quartets, Mendelssohn also wrote four individual string quartet movements. These were gathered together and published posthumously as op. 81, and on this second volume of their complete Mendelssohn cycle the Escher Quartet perform two of these pieces, both conceived in August 1847, shortly before the composers death.
Never mind the Symphonie espagnole and Le roi d’Ys, Edouard Lalo is the last of the great unknowns in 19th-century French music. His mature instrumental works combine the wisdom drawn from his professional playing experience with the familiar flair for rhythm and colour. They are likely to transform any opinion you may hold: it isn’t often that the inspiration of Beethoven was so well digested in France. The first two trios don’t really count as mature, and although they contain fine things, especially in the scherzos, their characteristic soul, sweep and dash are often clumsily handled. With No. 3, form and feeling are as one, the first movement’s surges integral to its progress to a hushed end, while the slow movement builds a powerful span from a sustained melody. Between them comes the irresistible piece better known in Lalo’s later arrangement as a Scherzo for orchestra. These performances have the necessary robustness without stinting on delicacy.