Felix DRAESEKE (1835-1913)
String Quartets - Volume 1
String Quartet No.1, Op. 27 [28.15]
String Quartet No.2, Op. 35 [29.56]
Constanze Quartet
rec. 2017, Kirche de Christengemeinschaft, Salzburg
CPO 555 281-2 [58.16]
Felix Draeseke composed only three string quartets, so this new – and highly enjoyable – issue is presumably Volume 1 of 2. On the strength of this one, I shall look forward very much to the appearance of the second
volume.
The mystery is why they have been so overlooked, for this is music of genuine substance and lasting interest. In the Nazi years, when the work of so many composers was banned, attempts to promote Draeseke’s music were made. It would be a shame if he were neglected as a result of such a taint, but his cause was not helped by occasional writings, including in 1861 on ‘so-called’ music of the future, and, in 1905, the pamphlet Confusion in Music: An Admonitory Cry, aimed principally at Salome. He perhaps seemed a bastion against ‘degenerate’ music, with the effect of making his own compositions appear conservative when in reality they strike out on paths of their own.
His inspiration was Wagner – certainly not Brahms – but his music is not Wagner on the cheap: it should rather be seen as a development of a Wagnerian aesthetic. He has – as revealed in his rewarding symphonies – a strong melodic sense, and uses melody as a unifying device throughout these quartets. Nor is he unadventurous in his ideas.
Quartet No. 1, from February 1880, was composed very quickly. The first movement begans quietly and affectingly, with a long-breathed theme, by first violin and cello, which quickly announces itself over gentle throbbing from the other instruments. The sense of gentleness is pervasive, though the notation is very complex. The A-flat Largo is both rich and complex despite a simple overall design. The minuet develops ideas from the first movement before a lively and sometimes even fierce finale. Again, themes from the first movement recur, to be developed in new and fascinating ways. The work as a whole is most attractive, with subtle shifts, both technically and in emotional range.
Draeseke’s own favourite of the three quartets was the Second, quickly composed in May 1886. His habitual long melodic arcs are evident in the first movement, with its arrestingly lovely opening. There is little aggressive or even loud in this movement, but its poised beauty demands continual attention. If the first quartet has a minuet movement, in the conventional third place, the brief second movement here is a full-blooded scherzo, at times with hints of the mazurka, but elsewhere quite gentle in manner.
The third movement is perhaps the most affecting of all, in terms of expression, sustained lines of melody. It has something of the artistry that hides its technical brilliance, as Draeseke leaves the impression of a single great arch. The finale is technically elaborate, lively and like the others, assured.
Production values are splendid, as is the norm for cpo, with fine recorded ambience, full and informative notes.
Splendid performances of unjustly neglected music, worthy of clear and assured, with the confidence in the value of the music to allow it to breathe naturally. The music is eloquent – and so are the performances from these young players.
Michael Wilkinson
