In this generous and lavishly presented
three disc album, the Alexander String Quartet programs eight of the
20th century's most fascinating string quartets from two
composers linked as contemporaries and countrymen, Béla
Bartók and Zoltan Kodály. Bartók's
canon of six
quartets have long been a part of the
standard repertoire for all the great string quartet ensembles of the
past 50 years. Kodály's
have been less fortunate, with just a few recordings of his two
quartet essays. Combining the two composers' quartet oeuvre is a
brilliant stroke, making this recording more than just another Bartók
cycle.
Kodály's two string
quartets were almost exact contemporaries to Bartók's First and
Second Quartets. Paring them allows for some illuminating
comparisons. Even Bartók's earliest quartets tend to be highly contrapuntal and more harmonically and structurally complex. Kodály who
played violin, viola and cello, produced quartets that were idiomatic
and well grounded in form and style. Yet unlike Bartók,
his works did not break new ground. Both of Kodály's works, the First Quartet,
in particular, sound more like the quartets of Debussy and Ravel and
have been combined with them on recordings. French in spirit they may
be, but thoroughly tinged with the rhythms, sounds and pungent
harmonies of Hungarian folk music, they are unique and totally
satisfying works. The third movement of the 1st
quartet lets loose with some distinctly Hungarian-like music, very
reminiscent of Kodály's
masterpiece, the Sonata for Solo Cello.
The Alexanders dig
into this music with technically secure, well paced performances;
especially important in the Kodály 1st,
which at approx 38 minutes can descend into longeurs if not careful.
Given their French inclinations, Kodály's
quartets come across a tad more relaxed and melodic than Bartók's.
The Alexanders realize this, bringing out the innate lyricism and
tenderness of the music especially in the second quartet's somewhat
threadbare “andante quasi-recitativo” section.
Thoroughly enjoyable,
interesting and colorful works that are shamefully neglected. Perhaps
this new recording (and one by the Dante Quartet on Hyperion, that I
have not heard) will open some eyes and ears to the satisfying charms
of these two works.
My (and I am not alone)
benchmark for the Bartók quartets is the
classic 1963 Julliard set on Sony (Columbia). The Takács and Emerson
cycles give them a run for their money in more modern sound and
similar performances. Thus the Alexander's cycle on their own Foghorn
Classics label enters into some good company and faces some strong competition.
Bartók's quartets
are often described as tough, dense and gritty and that would
generally be true. The Alexanders' performances are dramatic, lean
and intense, but never unpleasant or forced. Clean, clear and on
pitch pizzicati are noteworthy throughout the three discs, especially
important in the 4th
quartet's all pizzicato movement, which comes off swimmingly. The
quartet has a fine feel for the folk music elements and relish them
at every turn without exaggerating or even detaching them from the
overall texture.
Highlights: the
mysterious, skittering, hair raising “Prima Parte: Moderato” of
the 3rd
Quartet. The deeply expressive “Lento” opening movement of the
1st
Quartet, with dark, resonant cello and redwood-like viola passages.
The aforementioned 4th
Quartet scherzo (along with the controlled mayhem of its “Prestissimo
con sordino” movement, and the whole dramatic and even demonic 4th
quartet for that matter) and the slightly jazz tinged 5th Quartet's
scherzo.
As with every Foghorn
Classics release I have encountered, complete, legible and
intelligent notes are part of the package. Add these always
intelligent, intense, musical, satisfying and well recorded
performances to the list of recordings that challenge and may surpass
the classic Julliard recording. Combine the fine and rare Kodály
quartets and you have a special release indeed.
Bartók And Kodály String Quartets Foghorn Classics #2009 3 discs
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