Russian String Quartets
Nikolai AFANASIEV (1820-1898)
String Quartet Volga (1860) [24:17}
Nikolai RIMSKY-KORSAKOV (1844-1908)
Chorale and Variations (1885) [4:35]; Fugue In the Monastery
(excerpted movement from String Quartet No.2) (1878/79 [7:11]
Sergei RACHMANINOV (1873-1943)
Two Movements for String Quartet: Romanze (1889) [6:03]; Scherzo
(1889) [5:57]
Alexander BORODIN (1833-1887)
String Quartet No.2 in D major (1881) [28:17]
Leipziger Streichquartett (Stefan Arzberger and Tilman Büning
(violins); Ivo Bauer (viola); Matthias Moosdorf (cello))
rec. Konzerthaus der Abtei Marienmünster, Germany, 10-12
November 2011
MUSIKPRODUKTION DABRINGHAUS UND GRIMM MDG 307 1758-2
[76:56]
MDG have produced a typically polished and well considered disc
here. Sensible programming combines the totally obscure with
the main-stream popular taking in along the way some curios
by famous composers. Being naturally more interested in the
unknown rather than the famous I must admit to being a little
disappointed at what I initially perceived as a ‘safe’
option by including the Borodin String Quartet No.2. However,
the charm and warmth of the performance as well as the link
it has to other elements of the programme won me around completely.
It transpires that Borodin - ever the self-taught composer -
studied Afanasiev’s Volga Quartet as his model.
Indeed listening to the Afanasiev one is struck by its subtle
and skilful fusion of traditional four movement quartet form
with something altogether more folk-inspired. This was the driving
motivation of the famous “Mighty Handful” who sought
to liberate Russian Art Music from the stifling yoke of Western
Academic strictures by the use of folk melodies and narratives.
That much of it occupies the same emotional landscape as Tchaikovsky’s
lyrical melancholy is more a compliment to Afanasiev than one
might initially think; the quartet was awarded a prize by the
Russian Music Society in 1860 well before the more famous composer
had written a note of any significance. Indeed I would go so
far as to say that I cannot think of an earlier work that so
successfully addresses the issue of writing an authentically
Russian/Romantic string quartet.
From the opening bars both the work and the Leipziger Streichquartett
establish their considerable credentials. A rather sombre brooding
opening reveals string playing of beautiful blend and control
with each part balanced perfectly. Soon the music opens out
and the movement blossoms into a charmingly lyrical warm-hearted
piece. Indeed that characterisation would fit the entire work;
there is little of the dark brooding melancholy that inhabits
the more overtly dramatic Tchaikovsky. All four movement headings;
Moderato/Allegretto/Adagio/Allegro non
troppo imply a certain moderation and avoidance of excess
but in place of that we are given beautifully crafted writing
of attractive melodic grace. It would be foolish to suggest
that there is a proliferation of ‘tunes’ in the
way that the Borodin Quartet overflows with but that is more
to do with the extraordinary riches of that later work rather
than a criticism of the earlier. There are some interesting
quirks in the quartet. Formally it is well balanced although
the closing movement feels a fraction short - a feeling reinforced
by the curious ending where the music vanishes in a kind of
wisp of musical smoke. Along the way there has been a theme
that sounds like a close cousin of part of the Tchaikovsky Serenade
for Strings - I assume they share some folk-song heritage.
The second movement Allegretto substitutes for a true
Scherzo and seems as if it will wend its way rather harmlessly
until the 1st violin is given a finger-twisting counter-theme
which buzzes around the other three rather sober parts like
an annoying midge on a Summer’s day. The Adagio
is beautiful if not profound but contains the most overtly serious
writing in the work. This is certainly a work that deserves
to be better known and the excellent Leipziger Streichquartett
prove to be ideal interpreters. Here, and throughout the programme,
their focus on blend and beauty of sound suits the music well.
It is a cultured and refined approach that requires very fine
string playing and years of working together to achieve results
as fine as we have here. Certainly I have heard more overtly
Romantic performances of the Borodin and at a push I might opt
for such an approach but by their own terms this is top-rank
playing. Only in the Rachmaninov did I feel this approach in
anyway undersold the music. Twice Rachmaninov started writing
a string quartet and twice he got as far as a pair of movements.
Of this ‘pair of pairs’ the Romanze and Scherzo
are by far the more interesting. I find it fascinating to hear
the seeds of the mature Rachmaninov only a few years in the
future fighting for supremacy over influences ranging from Borodin
to Mendelssohn. Because the romantic gestures are rather undigested
- certainly in the heart-on-sleeve Romanze - I feel they
need to be over rather than underplayed. The Leipzigers
with their taste and refinement somehow emphasise the weaknesses
of the work - if played with complete fiery abandon the clunks
and bumps of the work’s construction are swept away but
a typically impassioned stream of proto-Rachmaninovian melody.
Likewise, the Scherzo - Mendelssohn with a Slav accent in the
framing outer sections and Borodin in all but name in the slower
central trio - needs to bubble and sparkle with all the brilliance
of the earlier composer. Here the Leipzig players choose a positively
safe tempo that again emphasises the current weaknesses at the
cost of future potential.
A pair of movements by Rimsky-Korsakov provide the other filling
to the programme. The Chorale and Variations of 1885
are a stand-alone work of considerable austere beauty and simple
genius. This is meat and drink to the players here - exceptionally
beautiful playing with the hymn-like chords tuned and voiced
to perfection. In contrast the somewhat earnest Fugue In
the Monastery feels like the product of an academic head
rather than a romantic heart. As mentioned earlier, I approached
the Borodin somewhat disappointed to be revisiting such a chamber
music ‘pops’ piece again. But within bars I was
swept away by the sheer gorgeousness and inspiration of Borodin’s
writing. For a self-taught composer he really did have a remarkably
fine understanding of the essence of string writing. Hard the
heart indeed that does not respond to as consistently a beautiful
stream of melodies as exists in the entire repertoire. Beauty
is the watchword for this performance. Although I do enjoy more
overtly Russian playing of this piece I have to say that this
time by not over-egging every single phrase the Leipzigers
avoid the quartet descending into a half hour of gushing emotion
and Borodin’s themes emerge stronger for a loving but
not over indulgent approach.
With the Borodin indebted to the Afanasiev and the Rachmaninov
written in the shadow of Borodin and with Rimsky-Korsakov a
benevolent musical godfather in the background of it all this
well-filled disc emerges as a programme of real stature. MDG’s
production is very much typical of their other discs; warmly
refined engineering complimenting the excellent quartet with
an acoustic that is generous yet allows detail to shine. There
is quite a lot of audible sniffing - presumably from the leader
- but I do not find this a distraction. The liner-note is fairly
pointless; good on some biographical detail but wafflingly generalised
about the specific works. This is a disc that should find considerable
favour with lovers of both Russian 19th century music
and chamber music in general.
Nick Barnard
Should find favour with lovers of both Russian 19th
century music and chamber music in general.