Schumann - String Quartets op.41 ~ Quatuor Ysaÿe (B000JVSVF6)

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05 novembre 2004 | Aeon | Filesonic + Fileserve

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Although there have been several fine recordings of Schumann 's String Quartets, Op. 41 -- those of the Gabrieli and Lark Quartet immediately come to mind -- and several superb classic recordings of the works -- those of the Juilliard and the Drolc and of course the magisterial Budapest immediately come to mind -- but hands down, far and away, and absolutely without question the best recording of Schumann 's String Quartets, Op. 41 , is this one by the Quatuor Ysaÿe.

You know how the really great performance of Schumann 's music -- Furtwangler 's Symphony No. 4 , Wunderlich 's Dicheterliebe , and Richter 's Fantasia come immediately to mind -- make Schumann sound like he was actually a great composer and not just a second-rate early Romantic with delusions of grandeur? That's exactly what the Quatuor Ysa?e 's performances do for the quartets: reveal the passion, the fantasy, the depth, the soulfulness, and the greatness of the music. Listeners who recall the Quatuor Ysa?e 's recording of the quartets of Debussy and Ravel , who recall what critics called the best recordings of the works in 60 years, will know what to expect. Everyone who loves great quartets playing should hear this disc. Aeon 's sound is close and warm and amazingly present. ~ James Leonard, All Music Guide

Recorded in 2003 at the Abbey of L'Epau by the Ysaye Quartet (estab. 1984), this is one of the most compelling chamber music discs I have audited this year, a candidate for my Best of the Year list. Schumann created his three string quartets in 1842, his so-called "song year," where his creative imagination worked in hyperdrive, trying to establish his legitimacy as a classical composer in the Great German Tradition. Schumann took his models from both Mendelssohn and Beethoven, attempting to capture the former's deft lightness and facility and the latter's inventive profundity, especially in Beethoven's use of variation techniques. Certainly Bach's counterpoint and Haydn's sense of proportion are no less influences. What Schumann adds of his own is an undercurrent of restless obsession, even in the scherzos, which "laugh but smile no more."

While I am not one to play all three quartets at one sitting, each of the Op. 41 set has its own sensibility; I was drawn to the A Minor by an LP inscription by the New Music Quartet. Its scherzo is dark Mendelssohn, troubled fairies, to say the least. The Adagio comes directly from Beethoven's Ninth. For the Andante of the F Major, Schumann takes his cue from Beethoven's Op. 127. In both the F Major and the A Major, Schumann employs rustic, even bagpipe effects, to capture the relaxed mood of Haydn. All three quartets have a quality of chiaroscuro and emotional color that makes them idiosyncratic, a real contribution that Schumann made to a medium not second nature to him. The Ysaye ensemble has taken great pains with their readings to make the Schumann quartets as thoughtful and sonically rich as their composer intended.--Gary Lemco

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01 String Quartet No.1 in A minor, Op. 41/1: 1. Introduzione - Andante espressivo - Allegro

02 String Quartet No.1 in A minor, Op. 41/1: 2. Scherzo Presto

03 String Quartet No.1 in A minor, Op. 41/1: 3. Adagio

04 String Quartet No.1 in A minor, Op. 41/1: 4. Presto

05 String Quartet No. 2 in F major, Op. 41/2: 1. Allegro vivace

06 String Quartet No. 2 in F major, Op. 41/2: 2. Andante quasi variazioni

07 String Quartet No. 2 in F major, Op. 41/2: 3. Scherzo: Presto

08 String Quartet No. 2 in F major, Op. 41/2: 4. Finale: Allegro molto vivace

09 String Quartet No. 3 in A major, Op. 41/3: 1. Andante espressivo - Allegro molto moderato

10 String Quartet No. 3 in A major, Op. 41/3: 2. Assai Agitato

11 String Quartet No. 3 in A major, Op. 41/3: 3. Adagio molto

12 String Quartet No. 3 in A major, Op. 41/3: 4. Finale: Allegro molto vivace

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