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Quartet Op. 13 / Lyric Suite

Tetzlaff Quartett

Quartet Op. 13 / Lyric Suite

Price: € 19.95
Format: CD
Label: CAvi
UPC: 4260085532667
Catnr: Avi 8553266
Release date: 24 October 2014
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Label
CAvi
UPC
4260085532667
Catalogue number
Avi 8553266
Release date
24 October 2014
Album
Artist(s)
Composer(s)
EN

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.

Artist(s)

Tanja Tetzlaff

Tanja Tetzlaff continues to perform an extensive range of works, embracing both core repertoire and contemporary compositions of the 20th and 21st centuries. Her recording of the cello concertos by Wolfgang Rihm and Ernst Toch was released by NEOS. After enjoying great success in numerous international competitions, she has subsequently performed with leading orchestras such as the Tonhalle-Orchester Zürich, Symphonieorchester des Bayerischen Rundfunks, Konzerthausorchester Berlin, Antwerp Symphony Orchestra, Orquesta Nacional de España, Die Deutsche Kammerphilharmonie Bremen, Orchestre Philharmonique de Radio France, Orchestre de Paris, and Cincinnati Symphony Orchestra. She has worked with notable conductors such as Lorin Maazel, Daniel Harding, Sir Roger Norrington, Philippe Herreweghe, Vladimir Ashkenazy, Dmitrij Kitajenko, Paavo Järvi, Michael Gielen, and Heinz Holliger, amongst others. Tanja Tetzlaff regularly appears at world-renowned chamber music series and festivals, such...
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Tanja Tetzlaff continues to perform an extensive range of works, embracing both core repertoire and contemporary compositions of the 20th and 21st centuries. Her recording of the cello concertos by Wolfgang Rihm and Ernst Toch was released by NEOS.
After enjoying great success in numerous international competitions, she has subsequently performed with leading orchestras such as the Tonhalle-Orchester Zürich, Symphonieorchester des Bayerischen Rundfunks, Konzerthausorchester Berlin, Antwerp Symphony Orchestra, Orquesta Nacional de España, Die Deutsche Kammerphilharmonie Bremen, Orchestre Philharmonique de Radio France, Orchestre de Paris, and Cincinnati Symphony Orchestra. She has worked with notable conductors such as Lorin Maazel, Daniel Harding, Sir Roger Norrington, Philippe Herreweghe, Vladimir Ashkenazy, Dmitrij Kitajenko, Paavo Järvi, Michael Gielen, and Heinz Holliger, amongst others.
Tanja Tetzlaff regularly appears at world-renowned chamber music series and festivals, such as the Heidelberger Frühling as well as the festivals in Bergen, Baden-Baden and Edinburgh. She is a member of the core ensemble of the Heimbach Festival Spannungen. Her regular chamber music partners include Lars Vogt, Leif Ove Andsnes, Alexander Lonquich, Antje Weithaas, Florian Donderer, Baiba and Lauma Skride, Christian Tetzlaff, Carolin Widmann, Dina Ugorskaja and Sharon Kam.

Tanja Tetzlaff is a member of the Tetzlaff Quartett, she founded in 1994 together with her brother Christian Tetzlaff, Elisabeth Kufferath and Hanna Weinmeister. The quartet is enjoying an extreme high reputation.
Tanja Tetzlaff and her duet partner Gunilla Süssmann have recorded three CDs together. The first two were released by CAvi-music featuring Brahms (2012) and a Nordic-Russian programme (2008), and their third disc was released in spring 2018 featuring works by Finnish composer Einojuhani Rautavaara.
Tanja studied at the Musikhochschule Hamburg with Bernhard Gmelin and at the Mozarteum in Salzburg with Heinrich Schiff, and plays a cello by Giovanni Baptista Guadagnini from 1776.


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Christian Tetzlaff

“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...
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“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.

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Elisabeth Kufferath

„It is astonishing, the way Kufferath pivots between free and fragile, from heavenly chirping tenderness to bearing the earth’s burdens, how many colors and even more nuance her playing expresses.“ Die Welt A member of the Tetzlaff String Quartet since its inception in 1992, Elisabeth Kufferath has performed on the stages of some of the most auspicious halls in Europe and the United States, including Philharmonie Hall in Berlin, Concertgebouw in Amsterdam, Musikverein in Vienna, Carnegie Hall in New York, and the Library of Congress in Washington D.C. In 2015 the Tetzlaff Quartet was awarded a Diapason d’Or de l’année for their recording of string quartets by Berg and Mendelssohn. Praised by conductor Heinz Hollinger as “unquestionably one of the most interesting and influential string players of her generation“,...
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It is astonishing, the way Kufferath pivots between free and fragile, from heavenly chirping tenderness to bearing the earth’s burdens, how many colors and even more nuance her playing expresses.“ Die Welt A member of the Tetzlaff String Quartet since its inception in 1992, Elisabeth Kufferath has performed on the stages of some of the most auspicious halls in Europe and the United States, including Philharmonie Hall in Berlin, Concertgebouw in Amsterdam, Musikverein in Vienna, Carnegie Hall in New York, and the Library of Congress in Washington D.C. In 2015 the Tetzlaff Quartet was awarded a Diapason d’Or de l’année for their recording of string quartets by Berg and Mendelssohn.
Praised by conductor Heinz Hollinger as “unquestionably one of the most interesting and influential string players of her generation“, she is a player with a wide-ranging stylistic palette, and is coveted as both a chamber musician and soloist.
Elisabeth Kufferath’s repertoire is highlighted by contemporary works. She gave the world premiere of Jan Müller-Wieland’s Himmelfahrt, a work for solo viola written for and dedicated to her, as well as the German premiere of Elliott Carter’s Figment IV for viola. She recently collaborated with Thorsten Encke and Johannes X. Schachtner, who wrote works for solo violin and solo viola specifically for her. She has collaborated with composers including Moritz Eggert, Peter Eötvös, Zeynep Gedizlioglu, Helen Grime, Ling-Hsuan Huang, Libby Larsen, Georges Lentz, Manfred Trojahn, and Jörg Widmann.
As a soloist, she has appeared with orchestras including the WDR Symphony Orchestra Cologne, Münchener Kammerorchester, Deutsche Radiophilharmonie Saarbrücken Kaiserslautern, Musica assoluta, Kammerakademie Potsdam, and the World Youth Symphony Orchestra. She has collaborated with conductors including Heinz Holliger, Christoph Poppen, Marcus Creed, Paul Goodwin, Alexander Rumpf and Gerard Schwarz.
Elisabeth Kufferath has been invited to perform at Berliner Festwochen, Schleswig-Holstein Festival, Spannungen Heimbach, Schwetzinger SWR Festspiele, Helsinki Festival, Lucerne Festival, Heidelberger Frühling, and the Rosendal Festival in Norway. She has shared the stage with chamber music partners including Adrian Brendel, Kirill Gerstein, Gustav Rivinius, Lars Vogt and Tabea Zimmermann. She spent a season as the Artist in Residence at New Zealand’s Auckland University where she was featured in both recitals and masterclasses.
Elisabeth Kufferath‘s first solo CD Libero, fragile was released in 2017 on the GENUIN label. The disk features contemporary works for solo violin and viola. The recording was nominated for a prize from German Record Critics’ Award and was enthusastically received by the press.
Elisabeth Kufferath lives in Hannover, Germany with her family where she is professor of violin at the Hochschule for Music, Theater, and Media. Both her violin and viola were built by the German luthier Stefan-Peter Greiner.

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Hanna Weinmeister

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...
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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.

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Composer(s)

Alban Berg

Alban Berg was an Austrian composer. Berg studied from 1904 to 1910 under Arnold Schoenberg and together with his teacher and fellow student Anton Webern he is part of the Second Viennese School. Berg married with Helene Nahowski (1885-1976), a singer who was a daughter from Anna Nahowski and, allegedly, Emperor Franz Joseph I of Austria. At first, Berg applied a free atonality, but later he started developing strict twelve tone techniques and combined these to a style which, despite its expressionistic character, reminds of the Late Romantic music of Gustav Mahler. 
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Alban Berg was an Austrian composer. Berg studied from 1904 to 1910 under Arnold Schoenberg and together with his teacher and fellow student Anton Webern he is part of the Second Viennese School. Berg married with Helene Nahowski (1885-1976), a singer who was a daughter from Anna Nahowski and, allegedly, Emperor Franz Joseph I of Austria.

At first, Berg applied a free atonality, but later he started developing strict twelve tone techniques and combined these to a style which, despite its expressionistic character, reminds of the Late Romantic music of Gustav Mahler.


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Felix Mendelssohn

Jakob Ludwig Felix Mendelssohn Bartholdy born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period. Mendelssohn is often compared to Mozart. Both of them were child prodigies, both had a talented sister and they both died at a young age. Mendelssohn, who as a child also painted wrote poetry, was born in small family which converted to christianity from judaism. As a composer he preferred looking back, rather than forward: his main examples were Bach, Handel and Mozart. It was Mendelssohn who retrieved Bach from oblivion and pushed for a revival of his music, which still lasts today. One century after its premier, Mendelsson performed the St Matthew Passion for the second...
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Jakob Ludwig Felix Mendelssohn Bartholdy born and widely known as Felix Mendelssohn, was a German composer, pianist, organist and conductor of the early Romantic period.

Mendelssohn is often compared to Mozart. Both of them were child prodigies, both had a talented sister and they both died at a young age. Mendelssohn, who as a child also painted wrote poetry, was born in small family which converted to christianity from judaism. As a composer he preferred looking back, rather than forward: his main examples were Bach, Handel and Mozart. It was Mendelssohn who retrieved Bach from oblivion and pushed for a revival of his music, which still lasts today. One century after its premier, Mendelsson performed the St Matthew Passion for the second time ever, in 1829.

Three years, earlier, on his 17th, he had already composed his masterfully overture A midsummer night's dream op. 21, based on Shakespeare's play. Today, it is still considered as one of the absolute masterpieces in all of the orchestra reperoire. His Violin Concerto op. 64 belongs to the most beautiful works of the 19th century as well. During his travels through Europe, he wrote his brilliant Italian Symphony, Scottish Symphony and the overture The Hebrides.

Although Mendelssohn had a prosperous career, his weak physique made him emotionally vulnerable. The death of his favourite sister Fanny became fatal: Mendelssohn died in the same year, at the age of 38.


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Press

Play album Play album
01.
String Quartet No. 2 in A minor, Op. 13: I. Adagio – Allegro vivace
07:45
(Felix Mendelssohn) Christian Tetzlaff, Tanja Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister
02.
String Quartet No. 2 in A minor, Op. 13: II. Adagio non lento
07:41
(Felix Mendelssohn) Christian Tetzlaff, Tanja Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister
03.
String Quartet No. 2 in A minor, Op. 13: III. Intermezzo. Allegretto con moto – Allegro di molto
04:49
(Felix Mendelssohn) Christian Tetzlaff, Tanja Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister
04.
String Quartet No. 2 in A minor, Op. 13: IV. Presto – Adagio non lento
08:29
(Felix Mendelssohn) Christian Tetzlaff, Tanja Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister
05.
Lyric Suite: I. Allegretto gioviale
03:17
(Alban Berg) Christian Tetzlaff, Tanja Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister
06.
Lyric Suite: II. Andante amoroso
06:07
(Alban Berg) Christian Tetzlaff, Tanja Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister
07.
Lyric Suite: III. Allegro misterioso – Trio estatico
03:23
(Alban Berg) Christian Tetzlaff, Tanja Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister
08.
Lyric Suite: IV. Adagio passionate
05:35
(Alban Berg) Christian Tetzlaff, Tanja Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister
09.
Lyric Suite : V. Presto delirando - Tenebroso
04:32
(Alban Berg) Christian Tetzlaff, Tanja Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister
10.
Lyric Suite : VI. Largo desolato
05:58
(Alban Berg) Christian Tetzlaff, Tanja Tetzlaff, Elisabeth Kufferath, Hanna Weinmeister

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