Johannes BRAHMS (1833-1897)
String Quartet No. 1 in C minor, Op. 51, No. 1 (1873) [32.03]
String Quartet No. 3 in B flat major, Op. 67 (1876) [36.06]
Artemis Quartet (Vineta Sareika (violin); Gregor Sigl (violin); Friedemann
Weigle (viola); Eckart Runge (cello))
rec. 2014, Teldex Studio, Berlin, Germany
WARNER ERATO 2564 612663 [68.24]
Experience has shown me that any new release from the Berlin-based
Artemis Quartet is cause for celebration. Its stunning cycle of the Beethoven
quartets on Virgin Classics/Erato bears testimony to this. This new Erato
release sees the Artemis in two of Brahms’ set of three string quartets,
masterworks of the repertoire yet overshadowed by quartets from fellow Austro-German
composers Haydn, Mozart, Beethoven and Schubert.
In the life of a string quartet having to replace a single member can be an
extremely difficult process. So it must have been immensely challenging overcoming
two personnel changes when in 2007 Gregor Sigl and Friedemann Weigle joined
Artemis. On the evidence of the magnificent recordings released since the
change the transition has been successful. Sadly since this album was recorded
in 2014 the Artemis Quartet made a sad announcement on 7 July 2015: “Friedemann
Weigle left us last weekend after a long battle with illness. With his death,
Vineta Sareika, Gregor Sigl and Eckart Runge have lost a colleague, companion
and friend; the music world has lost a wonderful, inspiring and extraordinary
person, musician and teacher … The Artemis Quartet has asked for time
to mourn, reflect and regroup. We will always remember the violist standing
on the rightmost side of the stage, his feet firmly planted on the ground
and his dark hair flowing with the music. Above all, the sound of his viola
- so special and so moving - will remain with us for a very long time to come.”
The opening work on the set is the String Quartet No. 1 in C
minor, which Brahms completed in 1873, a score dedicated to his friend
Dr. Theodor Billroth of Vienna. Brahms agonised over the writing. It is known
that he made several attempts in the genre before presenting the C minor.
In fact he once claimed to have destroyed as many as twenty quartets. A common
criticism levelled at the work is the disconcerting bleakness of the writing
with too little emphasis placed on melody. I am interested in the viewpoint
of two biographers: Walter Frisch who described the score as “an intense,
mostly dark work” and Ivor Keys writing that, “Grittiness is certainly
in evidence in this quartet.” In the extended first movement Allegro
the Artemis convey playing that is resolute and full-bodied by turns contrasted
with episodes of absorbing tenderness. The fractious quality of the relative
gloom of the Allegro is dispelled by the warmly romantic lyricism
of the Romanze: Poco Adagio which is interpreted with intensity
and the deepest possible concentration. I relish this captivating performance
from the Artemis in the moderately paced third movement. The agitated temperament
of the writing is always present in a movement that feels as if it fuses a
martial quality with a more whimsical dance-like character. The Allegro:
Finale contains disquieting music with an undertow of hurt and anger.
Artemis perform it with firm resolve and a sense of spontaneity.
Brahms completed his String Quartet No. 3 in B flat major in 1876.
He dedicated it to his friend Professor Theodor Wilhelm Engelmann from the
University of Utrecht. This good-humoured and more intimate score makes a
marked contrast to the two earlier quartets. Biographer Walter Frisch described
the B flat major score as “neoclassical in spirit, but ultra-sophisticated
in its triumph.” The Artemis is in buoyantly rhythmic mood in the opening
movement, marked Vivace and permeated with typical Brahmsian moodiness
and occasional petulance. In the Andante, “a song without words”
one cannot help but be impressed with the degree of calm communicated in this
performance. The movement concludes with a wonderful instrumental Amen.
Friedemann Weigle’s viola part takes centre-stage in the disconcerting
third movement Agitato (Allegretto non troppo) - Trio
– Coda which strongly conveys tension and emotionally stormy
waters. In the final movement, a theme and variations, the Artemis bring out
the dancing and light-hearted character of the music. From 6:51 the players
strengthen the tempo in a cheerful dash for the finishing line. This often
reminds me of children scampering home from school; pausing only for the occasional
breather.
This is convincing playing from the Artemis with performances that I will
return to often. Nevertheless my primary recommendation is for the Borodin
Quartet who delivers exceptional and compellingly expressive playing. The
Borodin was recorded at Snape Maltings, Suffolk in 1990 and Teldec Studio,
Berlin in 1993 and issued on Teldec. I also highly value the raptly expressive
performances from the Emerson Quartet. Recorded in 2005-07 the venue for the
Emerson was the American Academy of Arts and Letters, New York and released
on Deutsche Grammophon. In the String Quartet No. 1 I should single
out the account from the Belcea for its enviable style and natural warmth.
Splendidly recorded at Potton Hall, Suffolk in 2003 the Belcea was issued
on EMI Classics.
Erato's engineers deliver ice cool clarity and pleasing instrumental
balance.
With this gratifying Brahms release the Artemis Quartet continues to impress,
providing considerable colour and convincing emotional expression. The only
drawback is the failure to include a performance of the Second String
Quartet.
Michael Cookson
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