This outstanding release from the Henschel Quartet marks their
recording debut for the Neos Classics label. A fascinating Max
Bruch world première is further cause for celebration.
I
have followed the career of the Henschel closely since reviewing
their recording of Mendelssohn’s ‘Complete string quartets’
for Sony/BMG on Arte Nova Classics 82876 64009 2. For MusicWeb
International I compared the Henschel’s recording with what
I considered to be the finest alternative sets: Emerson/Deutsche
Grammophon; Talich/Calliope; Aurora/Naxos; Bartholdy/Arts
Music Red Line and the Pacifica/Cedille. Not only were the
Henschel my premier recommendation, I felt their performances
were such a remarkable artistic achievement that I confidently
acclaimed the set as my 2005 ‘Record of the Year’ (see my
comparative
review).
The
same year they followed up their Mendelssohn with a quite
outstanding recording of Beethoven’s Quartet in B flat
major, Op. 18/6 ‘Lobkowitz’ and Quartet in E
flat major, Op. 127. Deserving of the highest praise the
recording can compete with the finest versions around (Sony/BMG
on Arte
Nova Classics 82876 63996 20).
I
thought the Munich-based quartet exceptional when I first heard
them in recital at Richmond in 2005. Since then they have developed
an even rounder tone. Scrupulous preparation, indubitable professionalism
and broad experience are qualities that have provided an even
greater assurance to their interpretations. See the Henschels
website: The Strad in April 2007 carried an article
on them.
On
1 July 2009 the Henschel celebrated their anniversary of 15
years with the same line-up playing recitals at their three
day annual musical festival at the old monastery at Seligenstadt,
near Frankfurt. Having attended several of their recitals
I have witnessed their rapid ascent into the exclusive top
rank of ensembles on the world stage. They follow in the footsteps
of the great Amadeus, LaSalle, Melos, Italiano and Alban Berg
quartets - all standard-bearers from a previous golden generation.
Chamber music lovers are fortunate to have performers of the
foremost quality of the Henschel and Emerson on the scene
today.
Lynchpin
of the quartet Christoph Henschel is undoubtedly one of the
finest first violins around today. Playing his 1721 ‘Cobbett’
Stradivarius he leads with impeccable tuning and a magnificent
silvery timbre. Second violinist Markus Henschel plays a 1725
Stradivarius and Monika Henschel-Schwind a rich-toned Gasparo
da Salò viola from 1565-1600. Cellist Mathias Beyer-Karlshøj
has chosen to use a fifty year old Hjorth cello. All four
instruments have modern set-ups with contemporary strings
and bows.
A
testimony to their assiduousness and sheer hard work this
release is a veritable delight. Alongside the Mendelssohn
quintets we have a world première recording of Bruch’s String
Quintet in E-flat major. For the Bruch they are seamlessly
augmented on second viola by the services of Japanese string
player Kazuki Sawa. For the Mendelssohn works German
violist Roland Glassl works with the Henschel. Outstanding
is the unanimity of ensemble and immaculate intonation. Devoid
of any hint of ostentation there is a natural feel to their
phrasing together with an insightful grasp of structure. As
I have come to expect their careful use of vibrato and choice
of tempi feels just right. I played this hybrid SACD on my
standard players and was delighted by the clarity of sound
and the excellent balance. Interesting and informative booklet
notes add to this splendidly presented disc.
The
increasing popularity of the music of Max Bruch is sweeping
away the myth that he is a one-work composer known only for
his famous G minor Violin Concerto. At the several Recorded
Music Societies that I attend Bruch is one of the most frequently
chosen composers by the members. In addition to Bruch’s best
known scores there are a number of lesser known gems that
deserve general discovery namely the: Double Concerto for
two pianos; Op.88a; Double concerto for clarinet and viola,
Op.88 (also version for violin and viola); Romance for viola
and orchestra, Op.85; Swedish Dances, Op.63; Suite after Russian
Folk Songs, Op. 79b and the Serenade on Swedish Folk Melodies
(1915). Bruch was also very active in the field of chamber
music with scores ranging from the Eight pieces for clarinet,
viola and piano, Op.83; two String Quartets, Op. 9/10; a Septet
for wind and strings (1849) to a String Octet (1920). There
is also a large amount of sacred and secular choral works,
and many songs in his substantial output much of which is
rarely heard.
In
a manner similar to that of Brahms the eighty year old Bruch
undertook a flurry of chamber music activity in the last couple
of years of his life spent in retirement in Berlin. After
the horrors of the First World War in this Indian-summer of
creativity Bruch began writing his String Quintet in E-flat
major in 1918; the String Quintet in A minor in 1918/9 and
a String Octet in the early months of 1920. Many will be familiar
with the 1997/8 Baden-Baden recording of the String Quintet
in A minor and Octet performed by the Ensemble Ulf Hoelscher
on CPO 999 451-2 (c/w Bruch Piano Quintet). Bruch’s biographer
Christopher Fifield has stated that the manuscripts of the
trio of unpublished chamber scores and other works were assigned
by the composer’s three surviving children to the care of
publisher Rudolf Eichmann. Along with several other scores
they vanished and were thought destroyed or missing in the
Second World War. Fortunately Bruch’s daughter-in-law Gertrude
Bruch had prepared hand written copies of all three scores.
Fortuitously her copies of the String Quintet in A minor and
String Octet turned up in the BBC Music Library, London.
The
whereabouts of Bruch’s E flat major String Quintet was
not known for many years and thought lost. Then in the 1980s Gertrude
Bruch’s hand-written copy emerged in private hands and was subsequently
bought at a Sotheby’s auction by the German music publisher Henle
in July 2006. Thankfully all three scores are now available in
published editions. In July 2008 the Henschel together with second
violist Kazuki Sawa were entrusted with what was claimed to be
the world première performance of the Bruch E flat major Quintet
at the Wigmore Hall, London.
In
the opening movement of the Bruch marked Andante con moto
the five string voices just melt gloriously together.
I felt suffused by music evocative of golden sheaves of corn
awaiting harvest gently swaying in a warm breeze. Truly this
is playing that I didn’t want to end. The relaxing atmosphere
of the opening movement immediately vanishes in the amenable
Allegro a movement that the Henschel and Sawa propel
forward unstintingly with abundant exuberance. What a marvellous
surprise it was to hear the comforting music of the Andante
con moto for the first time. With playing of this elevated
standard I am inspired to write in the manner of the poet
W.B. Yeats that ones soul feels at ease and ones heart has
found peace. This Andante is surely one of Bruch’s
most glorious offerings. In the varying mood-swings of the
final Andante con moto – Allegro ma non troppo vivace the
music radiates the joy and rapture of heady summer days. At
1:18-2:12 Bruch lets loose with energetic writing of passionate
fervour. Again at 3:34-4:17 the high-stepping music returns
with dynamic zest and vitality. With considerable confidence
the Henschel and Sawa close the score with a sense of bold
carousing.
Whereas
Bruch’s score came at the end of his life, Mendelssohn’s
String Quintet No. 1 in A major was a product of his youth
composed in the spring of 1826. Following the death of violinist
Eduard Reitz in 1832, Mendelssohn wrote a replacement movement,
an Intermezzo to serve as a memorial to his friend and teacher.
Cast in four movements the score was published in 1833 as
his op. 18.
The
extended opening movement of the String Quintet No. 1 marked
Allegro con moto is confidently rendered enfolded in
brooding tenderness. Mendelssohn’s often flamboyant writing
for the first violin is evident. For a sad lament the tempi
of the Intermezzo - Andante sostenuto feels just right.
This is not a movement where Mendelssohn wears his heart on
his sleeve. Contrapuntal in design with fugato passages, the
bright and good-humoured yet restless Scherzo - Allegro
di molto is interpreted with considerable energy whilst
maintaining a crucial degree of delicacy. At points 1:56-2:41
and 2:54-3:30 Mendelssohn seems to hint at the amusement of
a Scottish reel. Aggressive ‘jabs’ from the cello at 2:41-2:54
make a considerable impression. In the brisk and extrovert
finale Allegro vivace I love the way the forthright
players ensure that the music just cascades along.
Mendelssohn’s
String Quintet No. 2 in B flat major, Op. 87 dates from 1845
- a late work composed at Bad Soden during a time of illness.
The four movement score had to wait until 1851 for its posthumous
publication.
The
opening Allegro vivace inhabits a rather agitated sound-world
over a prevailing sense of urgency. One notices how Mendelssohn
again gives the first violin part considerable attention.
Cheerful and lyrical the marvellously written Andante scherzando
is light on its feet. Here one can imagine novice dancers
swirling around on an over-waxed dance floor. Beautiful if
containing somewhat dark melodies the dense textures of the
splendid Adagio e lento are remarkably portrayed. With
writing of a temperamental and unpredictable feel Mendelssohn
ensures that the listener never seems to know what is coming
next. Hyperactive and rather inhospitable the final movement
Allegro molto vivace is vigorously played here, conveying
heightened tension.
There
are surprisingly few recordings of Mendelssohn’s Quintets. Of
those that I have heard the version from Hausmusik London has
been the most satisfying. The double set was recorded using period
instruments at York University in 1989 and East Woodhay, Berkshire
in 1993 on Virgin Veritas 7243 5618092 5 (c/w Mendelssohn String
Quartet No.2 and Octet). Another version of some note is
from the Fine Arts Quartet with guest violist Danielo Rossi who
recorded them together with the original third movement
Minuetto from the String Quintet No. 1. The Fine
Arts recording was produced in 2007 at Steinfurt, Germany on Naxos
8.570448.
This
release is a remarkable artistic achievement for the augmented
Henschels that should be snapped up immediately.
Michael Cookson