{"id":3160,"date":"2009-07-01T09:49:13","date_gmt":"2009-07-01T09:49:13","guid":{"rendered":"https:\/\/neos-music.com\/?post_type=product&p=3160"},"modified":"2023-01-08T17:49:27","modified_gmt":"2023-01-08T17:49:27","slug":"max-bruch-felix-mendelssohn-bartholdy-bruch-mendelssohn-bartholdy","status":"publish","type":"product","link":"https:\/\/neos-music.com\/en_us\/product\/max-bruch-felix-mendelssohn-bartholdy-bruch-mendelssohn-bartholdy\/","title":{"rendered":"Max Bruch, Felix Mendelssohn Bartholdy: Bruch \u2013 Mendelssohn Bartholdy"},"content":{"rendered":"

Infotext:<\/p>\n

Das international renommierte Henschel Quartett feierte seine hei\u00dfersehnte Wiederkehr im United Kingdom mit einem Konzert in der Londoner Wigmore Hall am 23. July 2008 (zusammen mit dem ber\u00fchmten japanischen Viola-Star Kazuki Sawa), wo es das k\u00fcrzlich wiederentdeckte Streichquintett in Es-Dur von Max Bruch zur Urauff\u00fchrung brachte.<\/p>\n

Das Quintett dauert knapp 20 Minuten. 1918 als Begleiter seines a-moll Streichquintetts vom 80-j\u00e4hrigen Bruch komponiert, wurde es nie \u00f6ffentlich aufgef\u00fchrt. Das von Bruchs Schwiegertochter kopierte Werk wechselte mehrfach den Besitzer \u2013 2006 erwarb ein privater Sammler die Noten und machte sie erstmals zug\u00e4nglich (inzwischen im Henle Verlag erschienen).<\/p>\n

NEOS legt nun diese willkommene Entdeckung \u2013 flankiert von zwei Mendelssohn-Streichquintetten \u2013 als Hybrid-SACD vor und feiert damit zugleich zwei weitere Ereignisse: den 15. Geburtstag des Henschel Quartetts sowie die hiermit begonnene exklusive Zusammenarbeit von NEOS mit den drei Geschwistern Henschel (Christoph & Markus, Violine \/ Monika, Bratsche) und deren kongenialem Partner Mathias Beyer-Karlshoj, Violoncello.<\/p>\n

Programm:<\/p>\n\n\n\n
\n
\n

Felix Mendelssohn Bartholdy<\/b>\u00a0(1809\u20131847)
\nString Quintet No. 1 in A major, op. 18<\/b>\u00a0(1826\/1832) 29:53
\n[01] Allegro con moto 11:30
\n<\/span><\/p>\n

[02] Intermezzo. Andante sostenuto 07:59
\n[03] Scherzo. Allegro di molto 04:25
\n[04] Allegro vivace 05:57<\/p>\n

Max Bruch<\/b>\u00a0(1838\u20131920)
\nString Quintet in E-flat major<\/b>\u00a0(1918) 18:46
\n[05] Andante con moto 03:07
\n<\/span>
\n[06] Allegro 03:32
\n<\/span>
\n[07] Andante con moto 05:46
\n<\/span>
\n[08] Andante con moto \u2013 Allegro ma non troppo vivace\u00a0 06:27
\n<\/span><\/p>\n

Felix Mendelssohn Bartholdy
\nString Quintet No. 2 in B-flat major, op. 87<\/b>\u00a0(1845)\u00a0 27:23
\n[09] Allegro vivace 09:40
\n<\/span><\/p>\n

[10] Andante scherzando 04:10
\n[11] Adagio e lento 07:58
\n[12] Allegro molto vivace 05:34<\/p>\n

total time 76:12<\/p>\n

Henschel Quartett<\/a>
\nChristoph Henschel, violin \u00b7 Markus Henschel, violin
\nMonika Henschel, viola \u00b7 Mathias Beyer-Karlsh\u00f8j, violoncello
\nKazuki Sawa<\/a>, viola (05\u201308)
\nRoland Glassl<\/a>, viola (01\u201304\/09\u201312)<\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Pressestimmen:<\/p>\n\n\n\n
\n
\n


\n19.07.2010<\/p>\n

Bruch e Mendelssohn: Quintetti per archi<\/b><\/p>\n

Il Quartetto Henschel, formato da Christoph e Markus Henschel (violini), Monika Henschel (viola) e Mathias Beyer-Karlsh\u00f8j (violoncello), rappresenta uno degli ensemble pi\u00f9 prestigiosi sulla scena internazionale e, non caso, ha avuto lo scorso marzo l\u2019onore di tenere un concerto in Vaticano, legato ai festeggiamenti per l\u2019onomastico di Papa Benedetto XVI.<\/p>\n

Numerose sono le incisioni del quartetto tedesco e, fra le pi\u00f9 recenti, vi segnaliamo un cd della Neos Classics (reso possibile anche grazie al supporto economico della Fondazione spagnola BBVA), che comprende i due Quintetti per archi di Mendelssohn ed il Quintetto in mi bemolle maggiore di Bruch.<\/p>\n

Per quanto riguarda i primi, il Quintetto n. 1 in la maggiore, op. 18, che risale al 1826, pur scritto successivamente al pi\u00f9 noto Ottetto per archi, op. 20, presenta un numero d\u2019opera inferiore in quanto, cos\u00ec come si pu\u00f2 riscontrare anche nella catalogazione delle Sinfonie, i lavori di Mendelssohn furono numerati considerando l\u2019anno di pubblicazione e non quello di produzione.<\/p>\n

Va ancora ricordato che tale brano fu rivisto dall\u2019autore nel 1832, che sostitu\u00ec il minuetto del secondo movimento con un Intermezzo, dedicandolo alla memoria del violinista Eduard Rietz, suo grande amico morto proprio quell\u2019anno.<\/p>\n

Dal canto suo, il Quintetto n. 2 in si bemolle maggiore, op. 87, composto nel 1845, pur appartenendo ad un Mendelssohn ormai maturo, pu\u00f2 essere considerato un ponte ideale con il lavoro scritto circa venti anni prima, poich\u00e9 mantiene quasi inalterate le doti di slancio e freschezza che caratterizzavano il pezzo giovanile.<\/p>\n

Un discorso a s\u00e9 merita il tedesco Max Bruch (1838-1920), noto quasi esclusivamente per il Concerto n. 1 in sol minore, op. 26 per violino ed orchestra, che ha finito per offuscare tutto il resto della sua produzione, consistente, fra l\u2019altro, in tre sinfonie, altri due concerti per violino, musica da camera, opere e numerosi lieder.<\/p>\n

Una vera e propria maledizione, che negli ultimi anni sembra sia giunta al termine (nel senso che non viene ricordato nemmeno pi\u00f9 per quel concerto), e quindi veder inciso un suo quintetto gi\u00e0 di per s\u00e9 va annoverato come un evento.<\/p>\n

Inoltre aggiungiamo che il brano \u00e8 in prima registrazione mondiale, in quanto la partitura originale del 1918 \u00e8 andata distrutta durante la seconda guerra mondiale, per cui il pezzo era ritenuto irrimediabilmente perso.<\/p>\n

Invece, una copia dello spartito, in precedenza propriet\u00e0 della nuora di Bruch e poi passato in mano a privati, \u00e8 riemersa in anni recentissimi, durante una vendita all\u2019asta di Sotheby\u2019s, ed in seguito \u00e8 stata pubblicata dalla G. Henle Verlag di Monaco, divenendo di patrimonio comune.<\/p>\n

Dal punto di vista musicale \u00e8 possibile osservare come Bruch, nel suo quintetto, passi in rassegna i capisaldi della musica da camera del secolo ormai alle spalle, mostrando di preferire il modello mendelssohniano rispetto a quello brahmsiano.<\/p>\n

Non dobbiamo dimenticare, inoltre, che Bruch scrisse questo pezzo intorno agli ottanta anni, per cui traspare anche una forte nostalgia per il tempo andato, che raggiunge l\u2019apice nel movimento finale, costruito sul motivo che chiudeva la sua Sinfonia n. 3, pubblicata nel 1887.<\/p>\n

Uno sguardo agli interpreti, partendo dal Quartetto Henschel, ensemble molto affiatato e di altissimo livello, dotato di un suono morbido e raffinato, che si conferma interprete privilegiato della musica da camera di Mendelssohn, facendo affiorare, nei minimi particolari, una scrittura che presenta molte affinit\u00e0 con le opere di maggior respiro dell\u2019autore tedesco.<\/p>\n

Relativamente a Bruch, il quartetto riesce nell\u2019intento di far emergere il suo stile essenzialmente romantico, portando nel contempo alla ribalta, in prima esecuzione assoluta, un brano di notevole interesse.<\/p>\n

Ottima risulta anche la prova dei due solisti, il giapponese Kazuki Sawa ed il tedesco Roland Grassl, impegnati alla viola, rispettivamente nei brani di Bruch e Mendelssohn, che si sono ben amalgamati con un quartetto cos\u00ec compatto come l\u2019Henschel, fornendo il loro apporto di grandi esecutori.<\/p>\n

In conclusione un cd di estremo valore, grazie al quale possiamo avere una precisa idea del contributo di due autori tedeschi, il primo, Mendelssohn, ancora oggi molto noto, il secondo, Bruch, quasi completamente dimenticato, ad una forma cameristica meno usuale, quale quella del quintetto d\u2019archi.<\/p>\n

Marco del Vaglio<\/p>\n


\n03\/2010<\/p>\n

<\/p>\n


\n04\/2009<\/p>\n

Mendelssohn komponierte bereits als 17j\u00e4hriger das Streichquintett op. 18, zu der Zeit, in der auch seine ber\u00fchmte Sommernachtstraum-Ouvert\u00fcre entstand. Der Verlag zeigte kein Interesse und lie\u00df das Werk drei Jahre unver\u00f6ffentlicht liegen. Die Verz\u00f6gerung der Drucklegung hatte auch seine guten Seiten: Mendelssohn f\u00fcgte in der Zwischenzeit ein wundervolles Adagio hinzu. An Mendelssohns harscher Selbstkritik scheiterten viele seiner sch\u00f6nsten Werke – so auch sein Streichquintett op. 87. Vier Jahre nach seinem Tod konnte es der verbl\u00fcfften \u00d6ffentlichkeit vorgestellt werden als reifes Sp\u00e4twerk, das w\u00e4hrend der Arbeit am \u201eElias\u201c entstanden war. Die Streichquintette finden sich auch in interessanter Koppelung mit dem k\u00fcrzlich erst entdeckten und nun ersteingespielten Streichquintett Es-dur von Max Bruch, aufgef\u00fchrt vom renommierten Henschel Quartett (erschienen auf NEOS 30901 als Hybrid-SACD).<\/p>\n


\n26.11.2009<\/p>\n

Max Bruch, Felix Mendelssohn Bartholdy
\nStreichquintette<\/b><\/p>\n

Warum addiert ein Komponist zum „idealen“ Streichquartett noch eine f\u00fcnfte Stimme, sei es zweite Bratsche oder zweites Cello? Die Antwort gibt ein verbl\u00fcffter Robert Schumann: „Hat man im Quartett vier einzelne Menschen geh\u00f6rt, so glaubt man jetzt eine Versammlung vor sich zu haben.“ Zweite Bratsche oder zweites Cello sind also Bindeglieder zwischen Kammer- und Orchestermusik, sie \u00f6ffnen den Klang weit mehr als mit nur einer Stimme. Das demonstriert diese Aufnahme mit zugunsten des Orchestralen verschobener Gewichtung: Die Henschels plus Kazuki Sawa (Bruch) bzw. Kazuki Glassl musizieren eher handfest-vollt\u00f6nend als kammermusikalisch ausdifferenziert. Aber beide Seiten gleich stark zu beleuchten, w\u00e4re auch schwierig. Und bei allzu viel Get\u00fcftel droht Zerfall.<\/p>\n

Andererseits, muss man Mendelssohns \u00fcberaus spannende Genrebeispiele, das Jugend- und das Sp\u00e4twerk, unbedingt mit Max Bruchs ziemlich akademischem Diskurs koppeln? Warum nicht zum Beispiel das Opus 88 von Johannes Brahms, das er selber „ein Fr\u00fchlingsprodukt“ nannte? Bruch ist immer der schw\u00e4chere Brahms. Aber nein: Max Bruch, dessen sp\u00e4tes Streichquintett die Henschels & Co. \u00fcberhaupt erst 2008 in Londons Wigmore Hall urauff\u00fchrten, ist das Zentrum der Aufnahme \u2013 und Mendelssohn die F\u00fcllung! Das Bruch-St\u00fcck erscheint denn auch noch genauer gearbeitet und mit h\u00f6herer Identifikation vorgetragen als Mendelssohns Tandem. Das macht es letztlich zwar nicht besser, als es ist \u2013 aber den Repertoirewert der Ver\u00f6ffentlichung hebt es durchaus.<\/p>\n

<\/p>\n

Thomas R\u00fcbenacker<\/p>\n


\n25.11.2010<\/p>\n

<\/p>\n

Maria-Elisabeth Ranft<\/p>\n


\n09.2009<\/p>\n

<\/p>\n

 <\/p>\n


\n23.08.2009<\/p>\n

String Quintets No 1 in A, No 2 in B flat; String Quintet in E flat Henschel Quartet, Roland Glassl, Kazuki Sawa (violas)<\/p>\n

Neos Classics NEOS30901<\/p>\n

Now that Mendelssohn’s quartets have finally been recognised at their true worth and taken up widely, perhaps the time of his two quintets has come. No 1, Op 18, composed between the Octet and the A minor quartet, when he was 17, may not equal those superb works, but – as this excellent performance demonstrates – it is a most attractive piece, and shows Mendelssohn using the medium as a means to ever richer textures. No 2, Op 87, composed 20 years later and beautifully played, takes the process further, with its copious tremolo and dense tuttis. Its energy and invention also explode the myth of Mendelssohn’s creative decline. The Max Bruch quintet, only premiered, by the Henschel, last year (after the discovery of a manuscript), is a pleasant addition to the repertoire.<\/p>\n

DC<\/p>\n

 <\/p>\n


\n13.08.2009<\/p>\n

Abgesang auf die Romantik<\/b><\/p>\n

Heutzutage verbindet man mit Max Bruch fast nur das Violinkonzert g-Moll op. 26. Dabei ist das Werk des Komponisten vielseitig, reicht bis hin zur Symphonik. Erst vor wenigen Jahren wiederentdeckt und von den Erben Bruchs freigegeben wurde das im Jahr 1918 entstandene Streichquintett in Es-Dur. W\u00e4hrend das Autograf offenbar im Zweiten Weltkrieg zerst\u00f6rt wurde, hat sich eine von Bruchs Schwiegertochter Gertrude angefertigte Abschrift in Privatbesitz erhalten.<\/p>\n

Das Quintett wurde am 23. Juli 2008 vom Henschel Quartett in der Londoner Wigmore Hall uraufgef\u00fchrt. Nun haben die vier Musiker – der Primgeiger Christoph Henschel lebt in Mering s\u00fcdlich von Augsburg – das Werk in der Urauff\u00fchrungsbesetzung, also mit Kazuki Sawa an der zweiten Bratsche, zum ersten Mal \u00fcberhaupt eingespielt.<\/p>\n

Bruchs Reminiszenz an die eigene Vergangenheit<\/p>\n

Vor dem H\u00f6rer entfaltet sich ein Abgesang auf die romantische Musiziertradition des 19. Jahrhunderts. Zwar scheint das Andante con moto noch etwas auszufransen, erinnern die Einleitungstakte dezent an den Beginn von Smetanas unverw\u00fcstlicher \u201eMoldau\u201c (wom\u00f6glich h\u00e4tte Bruch dies noch klarer strukturiert), der dritte Satz ist dann aber von hinrei\u00dfender, nicht niederschmetternder Melancholie. Im Finale des vierten Satzes verarbeitet Bruch im Hauptthema das Finale seiner Symphonie Nr. 3 op. 51 – eine Reminiszenz an die eigene Vergangenheit. Die f\u00fcnf Musiker schwelgen stilvoll in dieser Stimmung, tragen aber nicht zu dick auf. Ein Fundst\u00fcck f\u00fcr Freunde sp\u00e4tromantischer Musik.<\/p>\n

Klangliche und instrumentale Querverbindungen tun sich auf<\/p>\n

Rund um das Bruch-Werk gruppieren die Kammermusiker, diesmal mit Roland Glassl an der zweiten Viola, zwei St\u00fccke von Felix Mendelssohn-Bartholdy. Beim Streichquintett Nr. 1 A-Dur op. 18 und Nr. 2. B-Dur op. 87 verwendet Mendelssohn, ebenso wie Bruch die \u201eWiener Besetzung\u201c, also zwei Bratschen.<\/p>\n

Es ergeben sich nicht nur klangliche Querverbindungen. Bekannt f\u00fcr ihre Mendelssohninterpretationen erweisen sich die \u201eHenschels\u201c mit ihrem Gast erneut als wahre Experten f\u00fcr den Komponisten. Bezeichnend ist, dass Mendelssohn in seiner Klarheit mitunter moderner anmutet als Bruch.<\/p>\n

Erschienen ist die im Klangbild sehr nat\u00fcrliche CD beim neuen Label Neos Music GmbH. Besitzer eines Super-Audio-CD-Ger\u00e4ts mit Surroundfunktion haben den Eindruck, ein Streichquartett im Wohnzimmer zu haben.<\/p>\n

Max Bruch, Streichquintett in Es-Dur, Henschel-Quartett, Neos Music 30901.<\/p>\n

Gerald Lindner<\/i><\/p>\n

 <\/p>\n


\n15.07.2009<\/p>\n

Recording of the Year<\/b><\/p>\n

This\u00a0 outstanding release from the Henschel Quartet marks their\u00a0 recording debut for the Neos Classics label. A fascinating Max\u00a0 Bruch world premi\u00e8re is further cause for celebration.\u00a0 I have followed the\u00a0 career of the Henschel closely since reviewing their recording of\u00a0 Mendelssohn\u2019s \u2018Complete string quartets\u2019 for Sony\/BMG on Arte Nova\u00a0 Classics 82876 64009 2. For MusicWeb International I compared the\u00a0 Henschel\u2019s recording with what I considered to be the finest\u00a0 alternative sets: Emerson\/Deutsche Grammophon; Talich\/Calliope;\u00a0 Aurora\/Naxos; Bartholdy\/Arts Music Red Line and the\u00a0 Pacifica\/Cedille. Not only were the Henschel my premier\u00a0 recommendation, I felt their performances were such a remarkable\u00a0 artistic achievement that I confidently acclaimed the set as my\u00a0 2005 \u2018Record of the Year\u2019 (see my comparative\u00a0 review <http:\/\/www.musicweb-international.com\/classrev\/2005\/July05\/Mendelsson_Quartets_comparative.htm<\/a>> ).<\/p>\n

The same year they\u00a0 followed up their Mendelssohn with a quite outstanding recording\u00a0 of Beethoven\u2019s Quartet in B flat major, Op. 18\/6\u00a0 \u2018Lobkowitz\u2019 and Quartet in E flat major, Op. 127.\u00a0 Deserving of the highest praise the recording can compete with the\u00a0 finest versions around (Sony\/BMG on Arte\u00a0 Nova Classics 82876 63996 20 <http:\/\/www.musicweb-international.com\/classrev\/2005\/Sep05\/Beethoven_Henschel_82876639962.htm<\/a>> ).\u00a0 I thought the\u00a0 Munich-based quartet exceptional when I first heard them in\u00a0 recital at Richmond in 2005. Since then they have developed an\u00a0 even rounder tone. Scrupulous preparation, indubitable\u00a0 professionalism and broad experience are qualities that have\u00a0 provided an even greater assurance to their interpretations. See\u00a0 the Henschels website <http:\/\/www.henschel-quartett.de\/henschel.html<\/a>> : The Strad in April\u00a0 2007 carried an article <http:\/\/www.henschel-quartett.de\/download\/the_strad_article.pdf<\/a>>\u00a0 on them.\u00a0 On 1 July 2009 the\u00a0 Henschel celebrated their anniversary of 15 years with the same\u00a0 line-up playing recitals at their three day annual musical\u00a0 festival at the old monastery at Seligenstadt, near Frankfurt.<\/p>\n

Having attended several of their recitals I have witnessed their\u00a0 rapid ascent into the exclusive top rank of ensembles on the world\u00a0 stage. They follow in the footsteps of the great Amadeus, LaSalle,\u00a0 Melos, Italiano and Alban Berg quartets – all standard-bearers\u00a0 from a previous golden generation. Chamber music lovers are\u00a0 fortunate to have performers of the foremost quality of the\u00a0 Henschel and Emerson on the scene today.\u00a0 Lynchpin of the\u00a0 quartet Christoph Henschel is undoubtedly one of the finest first\u00a0 violins around today. Playing his 1721 \u2018Cobbett\u2019 Stradivarius he\u00a0 leads with impeccable tuning and a magnificent silvery timbre.\u00a0 Second violinist Markus Henschel plays a 1725 Stradivarius and\u00a0 Monika Henschel-Schwind a rich-toned Gasparo da Sal\u00f2 viola from\u00a0 1565-1600. Cellist Mathias Beyer-Karlsh\u00f8j has chosen to use a\u00a0 fifty year old Hjorth cello. All four instruments have modern\u00a0 set-ups with contemporary strings and bows.<\/p>\n

A testimony to\u00a0 their assiduousness and sheer hard work this release is a\u00a0 veritable delight. Alongside the Mendelssohn quintets we have a\u00a0 world premi\u00e8re recording of Bruch\u2019s String Quintet in E-flat\u00a0 major. For the Bruch they are seamlessly augmented on second\u00a0 viola by the services of Japanese string player Kazuki Sawa. For\u00a0 the Mendelssohn works German violist Roland Glassl works\u00a0 with the Henschel. Outstanding is the unanimity of ensemble and\u00a0 immaculate intonation. Devoid of any hint of ostentation there is\u00a0 a natural feel to their phrasing together with an insightful grasp\u00a0 of structure. As I have come to expect their careful use of\u00a0 vibrato and choice of tempi feels just right. I played this hybrid\u00a0 SACD on my standard players and was delighted by the clarity of\u00a0 sound and the excellent balance. Interesting and informative\u00a0 booklet notes add to this splendidly presented disc.\u00a0 The increasing\u00a0 popularity of the music of Max Bruch is sweeping away the myth\u00a0 that he is a one-work composer known only for his famous G minor\u00a0 Violin Concerto. At the several Recorded Music Societies that I\u00a0 attend Bruch is one of the most frequently chosen composers by the\u00a0 members.<\/p>\n

In addition to Bruch\u2019s best known scores there are a\u00a0 number of lesser known gems that deserve general discovery namely\u00a0 the: Double Concerto for two pianos; Op.88a; Double concerto for\u00a0 clarinet and viola, Op.88 (also version for violin and viola);\u00a0 Romance for viola and orchestra, Op.85; Swedish Dances, Op.63;\u00a0 Suite after Russian Folk Songs, Op. 79b and the Serenade on\u00a0 Swedish Folk Melodies (1915). Bruch was also very active in the\u00a0 field of chamber music with scores ranging from the Eight pieces\u00a0 for clarinet, viola and piano, Op.83; two String Quartets, Op.\u00a0 9\/10; a Septet for wind and strings (1849) to a String Octet\u00a0 (1920). There is also a large amount of sacred and secular\u00a0 choral works, and many songs in his substantial output much of\u00a0 which is rarely heard.\u00a0 In a manner similar\u00a0 to that of Brahms the eighty year old Bruch undertook a flurry of\u00a0 chamber music activity in the last couple of years of his life\u00a0 spent in retirement in Berlin. After the horrors of the First\u00a0 World War in this Indian-summer of creativity Bruch began writing\u00a0 his String Quintet in E-flat major in 1918; the String Quintet in\u00a0 A minor in 1918\/9 and a String Octet in the early months of 1920.\u00a0 Many will be familiar with the 1997\/8 Baden-Baden recording of the\u00a0 String Quintet in A minor and Octet performed by the Ensemble Ulf\u00a0 Hoelscher on CPO 999 451-2 (c\/w Bruch Piano Quintet). Bruch\u2019s\u00a0 biographer Christopher Fifield has stated that the manuscripts of\u00a0 the trio of unpublished chamber scores and other works were\u00a0 assigned by the composer\u2019s three surviving children to the care of\u00a0 publisher Rudolf Eichmann. Along with several other scores they\u00a0 vanished and were thought destroyed or missing in the Second World\u00a0 War. Fortunately Bruch\u2019s daughter-in-law Gertrude Bruch had\u00a0 prepared hand written copies of all three scores. Fortuitously her\u00a0 copies of the String Quintet in A minor and String Octet turned up\u00a0 in the BBC Music Library, London.\u00a0 The whereabouts of\u00a0 Bruch\u2019s E flat major String Quintet was not known for many\u00a0 years and thought lost. Then in the 1980s Gertrude Bruch\u2019s\u00a0 hand-written copy emerged in private hands and was subsequently\u00a0 bought at a Sotheby\u2019s auction by the German music publisher Henle\u00a0 in July 2006.<\/p>\n

Thankfully all three scores are now available in\u00a0 published editions. In July 2008 the Henschel together with second\u00a0 violist Kazuki Sawa were entrusted with what was claimed to be the\u00a0 world premi\u00e8re performance of the Bruch E flat major Quintet at\u00a0 the Wigmore Hall, London.\u00a0\u00a0 In the opening\u00a0 movement of the Bruch marked Andante con moto the five\u00a0 string voices just melt gloriously together. I felt suffused by\u00a0 music evocative of golden sheaves of corn awaiting harvest gently\u00a0 swaying in a warm breeze. Truly this is playing that I didn\u2019t want\u00a0 to end. The relaxing atmosphere of the opening movement\u00a0 immediately vanishes in the amenable Allegro a movement\u00a0 that the Henschel and Sawa propel forward unstintingly with\u00a0 abundant exuberance. What a marvellous surprise it was to hear the\u00a0 comforting music of the Andante con moto for the first\u00a0 time. With playing of this elevated standard I am inspired to\u00a0 write in the manner of the poet W.B. Yeats that ones soul feels at\u00a0 ease and ones heart has found peace. This Andante is surely\u00a0 one of Bruch\u2019s most glorious offerings. In the varying mood-swings\u00a0 of the final Andante con moto \u2013 Allegro ma non troppo vivace\u00a0 the music radiates the joy and rapture of heady summer days.\u00a0 At 1:18-2:12 Bruch lets loose with energetic writing of passionate\u00a0 fervour. Again at 3:34-4:17 the high-stepping music returns with\u00a0 dynamic zest and vitality. With considerable confidence the\u00a0 Henschel and Sawa close the score with a sense of bold carousing.\u00a0 Whereas Bruch\u2019s\u00a0 score came at the end of his life, Mendelssohn\u2019s String Quintet\u00a0 No. 1 in A major was a product of his youth composed in the\u00a0 spring of 1826. Following the death of violinist Eduard Reitz in\u00a0 1832, Mendelssohn wrote a replacement movement, an Intermezzo to\u00a0 serve as a memorial to his friend and teacher. Cast in four\u00a0 movements the score was published in 1833 as his op. 18.\u00a0 The extended\u00a0 opening movement of the String Quintet No. 1 marked Allegro con\u00a0 moto is confidently rendered enfolded in brooding tenderness.\u00a0 Mendelssohn\u2019s often flamboyant writing for the first violin is\u00a0 evident.<\/p>\n

For a sad lament the tempi of the Intermezzo – Andante\u00a0 sostenuto feels just right. This is not a movement where\u00a0 Mendelssohn wears his heart on his sleeve. Contrapuntal in design\u00a0 with fugato passages, the bright and good-humoured yet restless\u00a0 Scherzo – Allegro di molto is interpreted with considerable\u00a0 energy whilst maintaining a crucial degree of delicacy. At points\u00a0 1:56-2:41 and 2:54-3:30 Mendelssohn seems to hint at the amusement\u00a0 of a Scottish reel. Aggressive \u2018jabs\u2019 from the cello at 2:41-2:54\u00a0 make a considerable impression. In the brisk and extrovert finale\u00a0 Allegro vivace I love the way the forthright players ensure\u00a0 that the music just cascades along.\u00a0 Mendelssohn\u2019s\u00a0 String Quintet No. 2 in B flat major, Op. 87 dates from 1845 –\u00a0 a late work composed at Bad Soden during a time of illness. The\u00a0 four movement score had to wait until 1851 for its posthumous\u00a0 publication.\u00a0 The opening\u00a0 Allegro vivace inhabits a rather agitated sound-world over\u00a0 a prevailing sense of urgency. One notices how Mendelssohn again\u00a0 gives the first violin part considerable attention. Cheerful and\u00a0 lyrical the marvellously written Andante scherzando is\u00a0 light on its feet. Here one can imagine novice dancers swirling\u00a0 around on an over-waxed dance floor. Beautiful if containing\u00a0 somewhat dark melodies the dense textures of the splendid\u00a0 Adagio e lento are remarkably portrayed. With writing of a\u00a0 temperamental and unpredictable feel Mendelssohn ensures that the\u00a0 listener never seems to know what is coming next. Hyperactive and\u00a0 rather inhospitable the final movement Allegro molto vivace\u00a0 is vigorously played here, conveying heightened tension.<\/p>\n

There are\u00a0 surprisingly few recordings of Mendelssohn\u2019s Quintets. Of those\u00a0 that I have heard the version from Hausmusik London has been the\u00a0 most satisfying. The double set was recorded using period\u00a0 instruments at York University in 1989 and East Woodhay, Berkshire\u00a0 in 1993 on Virgin Veritas 7243 5618092 5 (c\/w Mendelssohn String\u00a0 Quartet No.2 and Octet). Another version of some note is\u00a0 from the Fine Arts Quartet with guest violist Danielo Rossi who\u00a0 recorded them together with the original third movement\u00a0 Minuetto from the String Quintet No. 1. The Fine\u00a0 Arts recording was produced in 2007 at Steinfurt, Germany on Naxos\u00a0 8.570448.\u00a0 This release is a\u00a0 remarkable artistic achievement for the augmented Henschels that\u00a0 should be snapped up immediately.<\/p>\n

Michael\u00a0 Cookson<\/i><\/p>\n


\nThe Record Geijutsu<\/b><\/i><\/p>\n


\n<\/i><\/b><\/p>\n<\/div>\n<\/td>\n

<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Infopaket f\u00fcr Presse und Vertriebe\u00a0\u00bb<\/a>
\n(ZIP-Archiv, 3,1 MB)<\/p>\n","protected":false},"excerpt":{"rendered":"

Infotext: Das international renommierte Henschel Quartett feierte seine hei\u00dfersehnte Wiederkehr im United Kingdom mit einem Konzert in der Londoner Wigmore Hall am 23. July 2008 (zusammen mit dem ber\u00fchmten japanischen Viola-Star Kazuki Sawa), wo es das k\u00fcrzlich wiederentdeckte Streichquintett in Es-Dur von Max Bruch zur Urauff\u00fchrung brachte. Das Quintett dauert knapp 20 Minuten. 1918 als […]<\/p>\n","protected":false},"featured_media":3161,"template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}}},"product_brand":[],"product_cat":[25,878],"product_tag":[],"class_list":{"0":"post-3160","1":"product","2":"type-product","3":"status-publish","4":"has-post-thumbnail","6":"product_cat-klassische-musik","7":"product_cat-streichquartett","8":"pa_artikelnummer-neos-30901","9":"pa_brand-neos-music","10":"pa_ean-703","11":"desktop-align-left","12":"tablet-align-left","13":"mobile-align-left","15":"first","16":"instock","17":"taxable","18":"shipping-taxable","19":"purchasable","20":"product-type-simple"},"yoast_head":"\nMax Bruch, Felix Mendelssohn Bartholdy: Bruch \u2013 Mendelssohn Bartholdy - NEOS Music<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/neos-music.com\/en_us\/product\/max-bruch-felix-mendelssohn-bartholdy-bruch-mendelssohn-bartholdy\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Max Bruch, Felix Mendelssohn Bartholdy: Bruch \u2013 Mendelssohn Bartholdy - NEOS Music\" \/>\n<meta property=\"og:description\" content=\"Infotext: Das international renommierte Henschel Quartett feierte seine hei\u00dfersehnte Wiederkehr im United Kingdom mit einem Konzert in der Londoner Wigmore Hall am 23. 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