Vogler Quartett

Vogler Quartett

Price: € 23.95
Format: CD
Label: Phil.Harmonie
UPC: 4250317416346
Catnr: PHIL 06034
Release date: 07 May 2021
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Label
Phil.Harmonie
UPC
4250317416346
Catalogue number
PHIL 06034
Release date
07 May 2021
Album
Artist(s)
Composer(s)
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DE

About the album

Ladies and Gentlemen, during the musical season of 2014/15, the Vogler Quartet celebrated its 30th anniversary. To keep a reminder of this event for you and ourselves, we recorded live our four concerts at the Konzerthaus Berlin and compiled selected compositions thereof for a CD box. The result is in your hands. We dec ided to present onl y works composed during the 20th or 21st century. It is common to all these compositions that they strive for beauty, and that they reach it. For example, there is, at the end of Henze's third quartet, a slight, sad reminiscence of Beethoven's 'Muss es sein?' from his last quartet op. 135. The whole work is pervaded by an inclining to the so-called 'Tristan chord', although this never appears in its original form. Moreover, Henze also cites Berg's 'Lyrische Suite', that reflects Wagner's opera 'Tristan und Isolde' and the 'Liebestod'. This third quartet, an unsuccessful work of Henze, shows a deeply broken, romantic spirit that may not be directly accessible because of its artistic encryption, but nonetheless reveals deep beauty. We could work out Kagel's 5th quartet just before its world premiere with the composer himself. We expected a 'musical revolutionary' and a sharp ironist, but, at the Berlin university of music, we met a delicate, wise old man, subtle and listening exactly, who even made changes in the score while we worked on it together. The search for the path; at the beginning of the 20th century, before the radical change brought about by the 12-tone music, the urgency of the quest for new musical idioms was clearly perceptable, and it is in this sense that we understand Ravel's quartet. The use of far-east and Basque motives in a nearly expressionistic manner, woven into cristalline but nevertheless very touching beauty, can appear very present-day, if one decides for this view. Kurt Weill's quartet op.8 (we used an earlier concert recording of this work for the CD box) uses quite another idiomatic modus, it reminds us already of his later song-style, but it also fits well in the time of its origin, the twenties. Emil Nolde, Max Beckmann, Otto Dix. The music evokes a picture. Jörg Widmann's 4th quartet was finalized not until the night before its world premiere. Over the two weeks before, we daily received a new page of the score by fax. We assembled the final version of the quartet's score on the very day of the concert on the train from Berlin to Essen. The rehearsal with Jörg took place on this same day as well. The quartet works with tensions between Baroque and modernity. Sounds, breathing, alienations. Again, beauty will be found if looked for. Antón García Abril is the senior champion of the new spanish music, and since we had the good luck to rehearse with him in person his songs 'Canciones del jardín secreto' with the mezzo-soprano Zandra McMaster and to present them in concert in Spain and in Berlin, we are pleased to include parts of the Berlin concert on these CDs as well. Abril worked with us, just as did Kagel, delicately but insistent on his music, firmly, until a specific Andalusian tone was found. We thank the Konzerthaus Berlin for the support, Zandra McMaster and Michael McHale for the musical teamwork, Tobias Hoff for the recording, and Ulli Blobel for his enthusiasm to present this CD-box with 'New Music'.
Sehr geehrte Damen und Herren, in der Musiksaison 2014/15 feierte das Vogler Quartett sein 30-jähriges Bestehen. Um dieses Ereignis für Sie und uns in Erinnerung zu halten, haben wir unsere vier Konzerte im Konzerthaus Berlin live mitgeschnitten und ausgewählte Kompositionen daraus für eine CD-Box zusammengestellt. Das Ergebnis liegt nun in Ihren Händen. Wir haben uns entschieden, nur Werke zu präsentieren, die im 20. oder 21. Jahrhundert entstanden sind. Allen diesen Kompositionen ist gemeinsam, dass sie nach Schönheit streben und diese auch erreichen. Zum Beispiel gibt es am Ende von Henzes drittem Quartett eine leichte, traurige Reminiszenz an Beethovens "Muss es sein?" aus seinem letzten Quartett op. 135. Das ganze Werk ist durchzogen von einem Hang zum so genannten Tristan-Akkord", obwohl dieser nie in seiner ursprünglichen Form auftaucht. Darüber hinaus zitiert Henze auch Bergs "Lyrische Suite", die Wagners Oper "Tristan und Isolde" und den "Liebestod" reflektiert. Dieses dritte Quartett, ein misslungenes Werk Henzes, zeigt einen zutiefst gebrochenen, romantischen Geist, der zwar wegen seiner künstlerischen Verschlüsselung nicht direkt zugänglich ist, aber dennoch tiefe Schönheit offenbart. Kagels 5. Quartett konnten wir kurz vor seiner Uraufführung mit dem Komponisten selbst erarbeiten. Wir erwarteten einen 'musikalischen Revolutionär' und scharfen Ironiker, aber an der Berliner Musikhochschule trafen wir auf einen zarten, weisen, feinsinnigen und genau zuhörenden alten Mann, der sogar noch Änderungen in der Partitur vornahm, während wir gemeinsam daran arbeiteten. Die Suche nach dem Weg; zu Beginn des 20. Jahrhunderts, vor dem Umbruch durch die Zwölftonmusik, war die Dringlichkeit der Suche nach neuen musikalischen Idiomen deutlich spürbar, und in diesem Sinne verstehen wir Ravels Quartett. Die Verwendung fernöstlicher und baskischer Motive in fast expressionistischer Manier, verwoben in kristalliner, aber dennoch sehr berührender Schönheit, kann sehr gegenwärtig wirken, wenn man sich für diese Sichtweise entscheidet. Kurt Weills Quartett op.8 (wir haben für die CD-Box einen früheren Konzertmitschnitt dieses Werkes verwendet) verwendet einen ganz anderen idiomatischen Modus, es erinnert schon an seinen späteren Liedstil, passt aber auch gut in die Zeit seiner Entstehung, die zwanziger Jahre. Emil Nolde, Max Beckmann, Otto Dix. Die Musik evoziert ein Bild. Jörg Widmanns 4. Quartett wurde erst in der Nacht vor der Uraufführung fertiggestellt. In den zwei Wochen davor erhielten wir täglich eine neue Seite der Partitur per Fax. Die endgültige Fassung der Partitur des Quartetts setzten wir noch am Tag des Konzerts im Zug von Berlin nach Essen zusammen. Auch die Probe mit Jörg fand an diesem Tag statt. Das Quartett arbeitet mit Spannungen zwischen Barock und Moderne. Klänge, Atmen, Verfremdungen. Auch hier findet sich Schönheit, wenn man sie sucht. Antón García Abril ist der Altmeister der neuen spanischen Musik, und da wir das Glück hatten, mit ihm persönlich seine Lieder 'Canciones del jardín secreto' mit der Mezzosopranistin Zandra McMaster einzustudieren und in Spanien und in Berlin konzertant zu präsentieren, freuen wir uns, Teile des Berliner Konzerts auch auf diesen CDs zu haben. Abril arbeitete mit uns, ebenso wie Kagel, zart, aber beharrlich an seiner Musik, fest, bis ein spezifisch andalusischer Ton gefunden war. Wir danken dem Konzerthaus Berlin für die Unterstützung, Zandra McMaster und Michael McHale für die musikalische Zusammenarbeit, Tobias Hoff für die Aufnahme und Ulli Blobel für seine Begeisterung, diese CD-Box mit 'Neuer Musik' zu präsentieren.

Artist(s)

Ladies and Gentlemen, during the musical season of 2014/15, the Vogler Quartet celebrated its 30th anniversary. To keep a reminder of this event for you and ourselves, we recorded live our four concerts at the Konzerthaus Berlin and compiled selected compositions thereof for a CD box. The result is in your hands. We dec ided to present onl y works composed during the 20th or 21st century. It is common to all these compositions that they strive for beauty, and that they reach it. For example, there is, at the end of Henze's third quartet, a slight, sad reminiscence of Beethoven's 'Muss es sein?' from his last quartet op. 135. The whole work is pervaded by an inclining to the so-called 'Tristan chord', although this never appears in its original form. Moreover, Henze also cites Berg's 'Lyrische Suite', that reflects Wagner's opera 'Tristan und Isolde' and the 'Liebestod'. This third quartet, an unsuccessful work of Henze, shows a deeply broken, romantic spirit that may not be directly accessible because of its artistic encryption, but nonetheless reveals deep beauty. We could work out Kagel's 5th quartet just before its world premiere with the composer himself. We expected a 'musical revolutionary' and a sharp ironist, but, at the Berlin university of music, we met a delicate, wise old man, subtle and listening exactly, who even made changes in the score while we worked on it together. The search for the path; at the beginning of the 20th century, before the radical change brought about by the 12-tone music, the urgency of the quest for new musical idioms was clearly perceptable, and it is in this sense that we understand Ravel's quartet. The use of far-east and Basque motives in a nearly expressionistic manner, woven into cristalline but nevertheless very touching beauty, can appear very present-day, if one decides for this view. Kurt Weill's quartet op.8 (we used an earlier concert recording of this work for the CD box) uses quite another idiomatic modus, it reminds us already of his later song-style, but it also fits well in the time of its origin, the twenties. Emil Nolde, Max Beckmann, Otto Dix. The music evokes a picture. Jörg Widmann's 4th quartet was finalized not until the night before its world premiere. Over the two weeks before, we daily received a new page of the score by fax. We assembled the final version of the quartet's score on the very day of the concert on the train from Berlin to Essen. The rehearsal with Jörg took place on this same day as well. The quartet works with tensions between Baroque and modernity. Sounds, breathing, alienations. Again, beauty will be found if looked for. Antón García Abril is the senior champion of the new spanish music, and since we had the good luck to rehearse with him in person his songs 'Canciones del jardín secreto' with the mezzo-soprano Zandra McMaster and to present them in concert in Spain and in Berlin, we are pleased to include parts of the Berlin concert on these CDs as well. Abril worked with us, just as did Kagel, delicately but insistent on his music, firmly, until a specific Andalusian tone was found. We thank the Konzerthaus Berlin for the support, Zandra McMaster and Michael McHale for the musical teamwork, Tobias Hoff for the recording, and Ulli Blobel for his enthusiasm to present this CD-box with 'New Music'.

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