Tetzlaff Quartett

Quartet Op. 13 / Lyric Suite

Format: CD
Label: CAvi
UPC: 4260085532667
Catnr: Avi 8553266
Release date: 24 October 2014
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1 CD
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Catalogue number
Avi 8553266
Release date
24 October 2014

About the album

1827 – 1925/26
(Excerpt from the booklet interview by the Tetzlaff Quartett)
Mendelssohn’s Op.13 and Alban Berg’s “Lyric Suite”: why did you choose this programme? Tetzlaff Quartett: The first, obvious reason is that we’ve been performing these two works for a long time, with the greatest imaginable pleasure. They challenge us as musicians. In Berg’s case the challenge takes us to the farthest frontiers, and in Mendelssohn it is just as formidable. That would be the outer motive. And there are inner motives as well: each of these works has a connection with a hidden love story. I wouldn’t want to lay too much emphasis on this, however. It’s obviously interesting to know the background, particularly in the case of the Lyric Suite. But we shouldn’t forget that Alban Berg never revealed the work’s hidden programme to the public. In the score he encrypted what the individual sections and passages meant to him, but you can enjoy the piece just as much without being aware of every detail. Of course we find it interesting that the piece is about intimate, sometimes terrible things. From your own experience you can recognize every emotion evoked in every single page of the score.

At the end of the suite, Berg quotes Zemlinsky’s “Lyric Symphony”, referring at the same time to Charles Baudelaire’s “De profundis”. The music becomes quite gloomy. TQ: Darker than almost anywhere else in music. As I see it, the utterly forlorn mood in the last movement is the result of a stark contrast. First we have the text on which the movement is based. Then we have a series of extremely expressive solos, particularly in the first violin and in the cello part. Right at the end, however, the music trickles off, fading into nothingness, leaving the impression that “it’s just going to go on this way, and I’ll suffer forever!”

That is something bitterer than what we find in many other composers. To return to the subject of our CD: the incredible difference between these two unrequited loves is that Mendelssohn ends up speaking of great beauty. There is great drama, despair and resignation – but at the same time such incredible beauty, yearning and love.


Christian Tetzlaff, violin
“One of the most brilliant and inquisitive artists of the new generation”, said the New York Times of Christian
Tetzlaff, one of today’s most highly demanded soloists on stages all over the world. As at home in the classical
and romantic repertoire as in contemporary music, Christian Tetzlaff sets standards with his interpretations
of the violin concertos of Beethoven, Brahms and Tchaikovsky as well as Berg, Schönberg, Shostakovich
and Ligeti. He is particularly well-known for his incomparable performances of the Bach Solo Sonatas and
Partitas. In 2005 he was chosen by Musical America as “Instrumentalist of the Year”. He frequently played
recitals with Leif Ove Andsnes and Lars Vogt. As a soloist and chamber musician he has performed in all
international musical centres, including amongst others New York’s Carnegie Hall and Lincoln Centre,
Concertgebouw Amsterdam, Vienna’s Konzerthaus and Musikverein, and in London, Paris, Berlin and Munich.
Christian Tetzlaff plays a violin by German violinmaker Peter Greiner.

Elisabeth Kufferath, violin
Elisabeth Kufferath studied at the Musikhochschule Lübeck / Uwe-Martin Haiberg and Nora Chastain and
was at the Cleveland Institute of Music, USA, where she studied under Donald Weilerstein. She was laureate
of the Cleveland Concerto Competition in 1991 and of the Vienna Modern Masters International Competition,
where she won the first prize in 1996. In 2003 she was awarded the IBLA Foundation`s Distinguished
Musician`s Award. Elisabeth Kufferath is a welcomed guest at international festivals of Lucerne Festival,
Schleswig-Holstein Music Festival, Rheingau Music Festival and Ravinia Festival and Aspen Festival in the
USA. She played as a soloist or in chamber music ensembles in the Berlin and Cologne Philharmonic, at
the Vienna Musikverein, in the Auditorium du Louvre in Paris as well as in Rome, Florence and Brussels.
Her regular chamber music partners are Lars Vogt, Antje Weithaas, Isabelle Faust, Jens Peter Maintz und
Markus Becker. From 1997 to 2004 Elisabeth Kufferath was concert master of the Bamberg Symphony
Orchestra and later she was a professor for violin at the conservatory in Detmold. Since 2009, she helds
the post of violin professor at the conservatory in Hannover, Germany. She plays on a violin by Peter Greiner
Hanna Weinmeister, viola
Hanna Weinmeister was born in Salzburg and graduated through the Mozarteum in Salzburg whilst still at
school. Later, she went to the Musikhochschule in Vienna/Gerhard Schulz and then participated in Zakhar
Bron`s masterclass in Lübeck. She is laureate of numerous international competitions, inter alia the International
Mozart Competition in Salzburg (1991), the Concours International Jacques Thibaud (1994) and
the International Parkhouse Award in London. While working as first concert master at the Opernhaus Zürich,
she gives concerts as a soloist and chamber musician with violin and viola. Hanna Weinmeister played
as a soloist with Munich and Berlin Philharmonic, SWR Symphony Orchestra Baden-Baden and Freiburg,
Mozarteum Orchestra, Bruckner Orchestra Linz and Chamber Orchestra of Europe under the batons of
Franz Welser-Möst, Eliah Inbal and Michael Gielen. Partners in chamber music were, e.g., Heinrich Schiff,
Leonidas Kavakos, Heinz Holliger, Gidon Kremer, Alexander Lonquich, Alexei Lubimov and Benjamin Schmid.
Since 1998, she is first concert master at the Opera Zurich Orchestra. Furthermore, she taught at the
Conservatory in Bern from 2000 to 2004. Hanna Weinmeister plays a viola by Peter Greiner.
Tanja Tetzlaff, cello
Tanja Tetzlaff studied under Professor Bernhard Gmelin at the Hamburg conservatory and of Professor
Heinrich Schiff at the Salzburg Mozarteum. She has won several international competitions including first
prize at the First International Music Competition in Vienna in 1992 and third prize at the ARD Competition
1994. Tanja Tetzlaff plays as a soloist as well as in chamber ensembles throughout Europe, the USA, Australia
and Japan and regularly plays at international festivals like in Risør, Bergen, Feldkirch, Schwetzingen, Delft
and Heimbach, on the Berliner Festwochen, the Beethoven-Fest Bonn, the Bremer Musikfest and the
Klangbogen-Festival in Vienna. She gives concerts with most of Germany`s renowned orchestras as well as
with great international orchestras such as the Tonhalle Orchestra Zurich, the Radio Symphony Orchestra
Moscow, the Camerata Salzburg and the Queensland Symphony Orchestra, Brisbane. She has worked with
many well-known conductors including Daniel Harding, Sir Roger Norrington, Vladimir Ashkenazy and Paavo
Järvi. Especially she is dedicated to chamber music and is privileged to give concerts regularly with some
of today’s most enterprising musicians such as Lars Vogt, Alexander Lonquich, Martin Fröst, Leif Ove Andsnes,
Florian Donderer and Gunilla Süssmann. Tanja Tetzlaff plays a violoncello made in 1776 by Giovanni Baptista


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