Gershwin, Glass, Janáček, Mendelssohn, Mozart, Shostakovich - Chiaroscuro - Schumann Quartett - 2019 (FLAC, 24BIT – 48KHZ)

Gershwin, Glass, Janáček, Mendelssohn, Mozart, Shostakovich – Chiaroscuro – Schumann Quartett – 2019 (FLAC, 24BIT – 48KHZ)

Composer: George Gershwin, Philip Glass, Leoš Janáček, Felix Mendelssohn, Wolfgang Amadeus Mozart, Dmitri Shostakovich
Orchestra: Schumann Quartett
Audio CD
Number of Discs: 1 CD
Format: FLAC (tracks)
Bit Depth: 24bit / 48kHz
Number of channels: 2.0
Label: Berlin Classics
Size: 710 MB
Recovery: +3%
Scan: yes
Server: rapidgator

Schumann Quartett – Chiaroscuro – 2019

01. Five Fugues for String Quartet, K. 405: No. 3, Fugue in E-Flat Major 01:56
02. Fugue in E-Flat Major, Op. 81 No. 4 05:20
03. Five Fugues for String Quartet, K. 405: No. 1, Fugue in C Minor 01:37
04. String Quartet No. 2 “Company”: I. — 02:40
05. String Quartet No. 2 “Company”: II. — 01:46
06. String Quartet No. 2 “Company”: III. — 01:57
07. String Quartet No. 2 “Company”: IV. — 02:25
08. Five Fugues for String Quartet, K. 405: No. 2, Fugue in D Major 01:39
09. Two Pieces for String Quartet: I. Elegy. Adagio 04:29
10. Two Pieces for String Quartet: II. Polka. Allegretto 02:35
11. Five Fugues for String Quartet, K. 405: No. 4, Fugue in D Minor 02:56
12. Six Bagatelles for String Quartet, Op. 9 04:31
13. Five Fugues for String Quartet, K. 405: No. 5, Fugue in E Major 02:40
14. String Quartet No. 2 “Intimate Letters”: I. Andante – Con moto – Allegro 06:13
15. String Quartet No. 2 “Intimate Letters”: II. Adagio – Vivace 05:38
16. String Quartet No. 2 “Intimate Letters”: III. Moderato – Andante – Adagio 05:25
17. String Quartet No. 2 “Intimate Letters”: IV. Allegro – Andante – Adagio 08:06
18. Lullaby for String Quartet 08:11

Gershwin: Lullaby for Strings
Glass, P: String Quartet No. 2 ‘Company’
Janáček: String Quartet No. 2 ‘Intimate Letters’
Mendelssohn: Fugue in E flat major, Op. 81 No. 4
Mozart: Fugues from Das wohltemperierte Klavier, K405
Shostakovich: Two Pieces for String Quartet (Elegy & Polka), Op. 36a

The three brothers Mark, Erik and Ken Schumann, who grew up in the Rhineland, have been playing together for five years. In 2012, they were joined by violist Liisa Randalu, who was born in the Estonian capital, Tallinn, and grew up in Karlsruhe, Germany. Those who experience the quartet in performance often remark on the strong connection between its members.

The four musicians enjoy the way they communicate without words: how a single look suffices to convey how the other wants to play a particular passage. Although the individual personalities clearly manifest themselves, a common space arises in every musical work in a process of spiritual metamorphosis. The quartet’s openness and curiosity may be partly the result of the formative influence exerted on it by teachers such as Eberhard Feltz, or partners such as Menahem Pressler. CD publications, study with the Alban Berg Quartet, a residency of many years at the Robert-Schumann-Saal in Düsseldorf, winning the prestigious Concours de Bordeaux along with other awards, various teachers and musical partners – it is always tempting to speculate on what factors have led to many people viewing the Schumann Quartet as one of the best in the world. But the four musicians themselves regard these stages more as encounters, as a confirmation of the path they have taken. They feel that their musical development over the past two years represents a quantum leap.

“We really want to take things to extremes, to see how far the excitement and our spontaneity as a group take us,” says Ken Schumann, the middle of the three Schumann brothers. With this attitude the Schumann Quartet has reached a stage where anything is possible, because it has dispensed with certainties. This also has consequences for the listeners, who from concert to concert have to be prepared for all eventualities: “A work really develops only in a live performance,” the quartet says. “That is the ‘real thing’, because we ourselves never know what will happen. On the stage, all imitation disappears, and you automatically become honest with yourself. Then you can create a bond with the audience – communicate with it in music.”

In order to transfer the magic of the live situation into this recording, the quartet played live in front of the audience on one of the two days in the studio in Ludwigsburg.


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