Mandelring Quartett String Quintet No

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Felix Mendelssohn Bartholdy Complete Chamber music for Strings Vol. IV

Gunter Teuffel Mandelring Quartett String Quintet No. 1 in A major, Op. 18* [30:06] I. Allegro con moto 11:18 II. Intermezzo. Andante sostenuto 8:13 III. Scherzo. Allegro di molto 4:37 IV. Allegro vivace 5:58

String Quintet No. 2 in B flat major, Op. 87* [27:36] I. Allegro vivace 9:39 II. Andante scherzando 3:58 III. Adagio e lento – 8:13 IV. Allegro molto vivace 5:46

Four Pieces for String Quartet, Op. 81 [11:40] No. 3 Capriccio in E minor. Andante con moto – Allegro fugato, assai vivace 5:38 No. 4 Fugue in E-flat major. A tempo ordinario 6:02

mandelring quartett Gunter Teuffel, viola* Perfection plus one – Mendelssohn a dozen string “symphonies”, a trio and and low registers was variable: whilst the venue where many works of the discovers the string quintet four quartets with piano were written in Boccherini preferred one viola and two young Mendelssohn were performed; and What might have moved the young Felix the child’s “sound laboratory”; the pièce cellos, which was later taken up by Franz the house as a whole became a symbol of Mendelssohn to compose a quintet for de résistance came in autumn 1825 in the Schubert for his unsurpassed C major the ambitious and attractive Jewish cul- two violins, two violas and cello in the form of his Octet Op. 20, which he com- Quintet, most composers in the line of tural life in Berlin. spring of 1826, shortly after his seven- posed for the birthday of his friend and Mozart, Mendelssohn and Brahms opted In the wide spectrum of sonic and teenth birthday? It seems unlikely that violin teacher Eduard Rietz (who was for the less bass-heavy, more transparent compositional subtleties employed for he composed the piece for a coinciden- also to play a part in the genesis of the variant involving two violas and one cello. the string quintet since Mozart, Men- tal gathering of musician friends at his Quintet Op. 18). This flexibility in scoring was surely one delssohn, in his Quintet Op. 18, concen- parents’ home in Berlin – the manner in The five-part string texture did not of the reasons why – in contrast even trates for the most part on creating a which Luigi Boccherini was introduced to possess the experimental character of to the string sextet – no fixed ensemble homogenous sound within a contrapun- the string quintet when, at the Spanish the octet which Mendelssohn more or string quintet has established itself in the tally charged, broken up texture. Whilst court in Madrid, he added to an already less invented, but the quintet also never music business, even to the present day. Mozart liked to form two contrasting existing string quartet by joining them reached the “classical” position of the When Mendelssohn began work on “choirs” out of the upper and lower with his cello. Mendelssohn’s youthful string quartet or the piano trio. The his A major Quintet, his family had just voices, Mendelssohn tends to create a works, which have only recently been concerns of the composers began with moved to their new Berlin home – Leip- string quartet with added sonorities, fully appreciated, have far too systematic the number of parts which even Joseph ziger Straße 3, a magnificent mansion paying tribute to Mozart in tone-colour, a design to concede any creative space Haydn, the early master of the “perfect” with a sizeable park, bordering on a but thinking harmonically in romantic to chance. In the same way as Abraham string quartet, regarded as being super- porcelain factory and the war minis- directions. There are numerous refer- Mendelssohn and his wife Lea did not fluous. “The fifth person”, according to try – which, however, had become run ences to Mozart, as for instance in the omit any areas in their children’s edu- his East Prussian contemporary Johann down over the years. After its renova- first movement where the cantabile main cation, which even included sciences Friedrich Reichardt, “is neither neces- tion, the house boasted a spacious “cabi- theme in 3/4 is followed by the two violas and physical education, Felix, in music, sary to create diversity within the con- net”, where Lea Mendelssohn hosted (more or less subconsciously) intoning wanted to try out most combinations versation, nor to achieve perfect har- her famous salon, as well as a lavish the main motif of the finale of the Jupiter and traditions himself, to which he had mony…” It was not until the Romantic garden house with sixteen rooms and a Symphony over stroked baroque-like been introduced by his teachers Lud- era that greater sonorities in the inner hall where their “Sunday music” events, cello notes. After a concisely articulated wig Berger and Carl Friedrich Zelter. voices became more popular. On the which were attended by several hundred “Mozartian” secondary theme, the first From 1820, string quartets, concertos, other hand, the scoring of the middle people, took place. This hall was to be section closes with a reminiscence of the octet’s elves and fairies which would a musical “obituary”. At the same time, Fugues, above all – two movements opens in the manner of a Song without later provide the particular romantic flair he wanted to provide an opportunity for for string quartet from Op. 81 words for string quartet in a barcarolle- in his Overture to A Midsummer Night’s the French violinist Pierre Marie Baillot In 1849, one and a half years after like rhythm of 12/8 (Andante con moto). Dream. In the development, the main to demonstrate his famous cantabile Mendelssohn’s death, Julius Rietz, the A short violin cadenza is, however, theme is pulled into a constantly acceler- playing. In fact, the first violin not only younger brother of the short-lived surprisingly followed by a lively fugue, ating whirl, resulting in virtuoso displays, presents the sweet melancholy chant Eduard Rietz, published four movements demanding of its players a fireworks dis- principally from the first violin, but also of the opening theme, but also all other for string quartet which had appeared play of brilliant scales, deliberate dynam- in the other instruments. After the reca- motifs of this lyrical Andante sostenuto in Mendelssohn’s estate. The common ics and precise articulation – a cabinet pitulation, the first theme – as is char- which, at the same time, is permeated opus number of 81, however, is mislead- piece of Mendelssohnian transformation acteristic of Mendelssohn – is furnished with a palpitating inner agitation. ing, for there seems to be no demon- of Bach’s spirit. with new harmonies, leading to a gently The springy staccato figures of the strable connection between the move- The final piece in this loose compila- murmuring ending. third movement, now the Scherzo, are ment with variations and Scherzo of 1847 tion is also a fugue – admittedly no con- In the original version of 1826, the reminiscent of the octet, beginning with (see Vol. 3 of the Mandelring Quartet’s cert showstopper, but a strict, archaic opening movement was followed by much refinement as a five-part fugue and recording), and the Capriccio and the exercise in contrapuntal logic which the Scherzo, a fast Minuetto and then leading to a perpetuum mobile of shim- concluding Fuga. one might have expected to have been the finale. When Mendelssohn took mering moods and surprising colour The variations and Scherzo were writ- composed for the piano or the organ: it the quintet on his grand tour of Europe changes. In the finale Mendelssohn also ten as part of Mendelssohn’s work on is fashioned out of a twice rising fugue in 1830-32, he initially reversed the two presents, in the development, the solid the string quartet genre during the year theme in long notes and a second, more inner movements and then replaced the contrapuntal technique that he had of his death; thus the Capriccio seems to fluid theme that Mendelssohn later com- Minuetto with the Intermezzo: it is this acquired from his teacher Zelter; the be an individual piece from 1843, when bines with the first one. The work was version with which we are familiar today. main sections, however, are based on the the composer took on the leadership written in 1827 when Mendelssohn com- His motivation for reworking the piece contrast between the youthfully bold, of the Leipzig Conservatoire which had posed his first String Quartet in A minor, had personal reasons: Eduard Rietz, fast-approaching main theme and the been founded according to his plans, Op. 13, and, in its Franciscan simplicity for whom the first violin part seems to supple, melodious secondary theme. In and when he composed his incidental of rhythm and sound, is almost remi- have been written, died of tuberculosis particular playing this rapid movement, music to Shakespeare’s A Midsummer niscent of the late fugues of Ludwig van in January 1832, aged twenty-nine. Men- the star violinist Baillot is unlikely to have Night’s Dream. In contrast to all expec- Beethoven, who had died in Vienna in delssohn, who was in Paris at the time, complained about a lack of virtuosity. tations of a lively, formally and harmoni- March of the same year. dedicated the Intermezzo to his friend as cally “capricious” piece, the movement

Orchestral brilliance – the Quintet and spent his time composing. of smaller proportions and does not isn’t good”. We do not know what exactly Op. 87 of 1845 The quintet, written in the popular spa feature the brilliantly iridescent flicker- it was that displeased the composer Between the single Capriccio movement town close to Frankfurt, opens with an ing of the earlier quintet; instead, it is about the finale. Perhaps the cheerful of 1843 and his last Quartet Op. 80 entirely different sonic picture to that designed as a serenely restful Andante thirds of the secondary theme, the inten- of 1847, Mendelssohn wrote only one of the early work inspired by Mozart. scherzando in a waltz-like 6/8 rhythm – a sified virtuosity of the first violin, or the major chamber music work for strings Over a powerful opening tremolo the short intermezzo before the slow move- occasional swagger which did not provide in which he was to return once again to first violin – who, also in this work, is ment, Adagio e lento, an unusual tempo a satisfactory counterbalance to the first the more sonorous quintet scoring. Just the ensemble’s busy star – intones a jubi- for Mendelssohn. In fact, the sonata form movement? Whatever the underlying rea- under two decades after his opus 18, lant fanfare, radiantly confirming the key movement in D minor, with its march- son, his self-criticism resulted in the com- he wrote his Quintet in B flat major of B flat major. This hymn-like tone domi- like opening, the serious bass runs and poser holding back the quintet, and in its in 1845 – during a time when the notori- nates large swathes of the movement, the dramatic heart beat seems more like being published only after his unexpected ously overworked composer, at the age which appears symphonic not just thanks a recollection of Beethoven’s late quar- death, under the posthumous opus num- of thirty-six, had effected an emergency to its duration. Not only the tremolos at tets and sonatas. The light-toned sec- ber 87. stop. During the two previous years he the footing of the structure, but also the ondary theme does not feature in the had become director of the Leipzig Con- elaborate development of the nervous development but it appears both in the Michael Struck-Schloen servatoire, regularly conducted concerts transition in triplets and of the cantabile recapitulation as a chant for the cello and Translation: Viola Scheffel with the Gewandhaus Orchestra, worked secondary theme, reveal an orchestral at the end of the movement. Strangely, as general music director for the Prussian format. The development section, where Mendelssohn, who liked to play the viola king in Berlin, undertaken his eighth tour the opening fanfare dominates in numer- himself, provides hardly any opportuni- of Great Britain, moved home twice – ous variants, around which the first vio- ties for the two violas and their singular first to Berlin, then to Frankfurt am lin revolves restlessly, has an extensive sound to come to the fore. Main – and welcomed his fourth (Felix) design and leads into the recapitulation of The finale (Allegro molto vivace) seems and fifth (Lili) children into the world. the first theme, this time initiated by the to have prevented the composer from Now, during the summer of 1845, he second violin. In the coda, Mendelssohn publishing the work during his lifetime. enjoyed the peace of Bad Soden am Tau- opens a second development without, A diary entry of Mendelssohn’s friend nus, received job offers from Berlin and however, generating new ideas. Ignaz Moscheles reveals that the quin- Dresden without reacting immediately, The scherzo, on the other hand, is tet was revised once again in 1846, “and Mendelssohn purports that the last piece Mandelring The quartet has appeared at the home town of Neustadt an der Wein- Quartett Schleswig-Holstein Music Festival, the strasse. In 2011 and 2012 the Mandelring Oleg Kagan Music Festival, the festivals in Quartet was invited to perform the The Mandelring Quartet’s trademark is Montpellier, Lockenhaus and Kuhmo, the complete cycle of 15 Shostakovich string its expressivity and phenomenal homo- Enescu Festival in Bucharest and at the quartets several times, e.g. in Berlin and geneity. The four individual musicians are Salzburg Festival. at the Salzburg Festival. as one in their shared determination al- Numerous CD recordings, which have ways to seek out the innermost core of won the German Record Critics’ Prize on the music and confront musical truth. By several occasions and have been nomi- grasping the spiritual dimension, explor- nated for the Midem respectively the ing emotional extremes and working on International Classical Music Award, bear detail, these musicians probe far beneath witness to the quartet’s exceptional the surface, revealing complex meanings quality and the breadth of its repertoire. in music. At the same time, their ap- Their recording of the string quartets of proach to music is always both emotional Shostakovich has been hailed by the press and personal. as one of the outstanding complete re- Winning a number of prestigious inter- cordings of our time. Their discs of works national competitions – Munich (ARD), by Schubert and Schumann have been se- Evian and Reggio Emilia (Premio Paolo Bor- lected as new benchmark performances, ciani) – initiated the Mandelring Quartet’s and also their disc of the string quartets international career. The ensemble has of Leos Janáček received several awards. appeared in Amsterdam, Brussels, Lon- The HAMBACHERMusikFEST, the don, Madrid, Paris and Vienna. The cities quartet’s own festival, is an annual of New York, Washington, Los Angeles, meeting-point for lovers of chamber Vancouver and Tokyo are also on their music from all over the world. Since 2010 agenda, alongside frequent concert tours the Mandelring Quartet has presented its to Central and South America, the Middle own concert cycles in the Chamber Music East and Asia. Hall of the Berlin Philharmonie and in its Gunter Maistre - Gaby Pas van Riet - Gunter Teuffel Teuffel“ Trio, the Dohnanyi Trio and Musica Antiqua Cologne. As a soloist Gunter Teuffel studied with Enrique he has appeared with viola and viola Santiago and the Melos Quartet at the d’amore under conductors such as Sir Musikhochschule Stuttgart. He continued Neville Marriner, Sir Roger Norrington his musical studies with Jürgen Geise and and Dennis Russel Davies, Andrey Sandor Végh at the Mozarteum Salzburg. Boreyko and Christopher Hogwood. He passed his final diploma with highest Gunter Teuffel recorded numerous honours. CDs, among them the audite release of Gunter Teuffel started his career as a Janáček´s String Quartet No. 2 “Intimate solo violist with the Camerata Academica Letters” in the reconstructed version of the Mozarteum Salzburg under Sandor with viola d’amore. Végh. Since 1982, he has been the solo violist of the SWR Radiosinfonieorchester Translation: Joanna Scheffel Stuttgart. Additionally, he teaches as Pro fessor of Viola at the Hochschule für Musik und darstellende Kunst Stuttgart and is lecturer for viola d´amore at the Universi tät für Musik und darstellende Kunst Wien. Gunter Teuffel is also sought after as a chamber musician, and he has performed together with the Melos Quartet, the Parnassus Piano Trio, the Came rata Lencses, the Stuttgart Soloists, the Diabelli Trio, the Villa Musica Ensem- ble and the Mandelring Quartet, the Linos Harp Quintet, the “Xavier de Franz Schubert: String Quartets Brahms & Contemporaries Mandelring Quartett Mandelring Quartett

Johannes Brahms Vol. I String Quartet in D minor, D. 810 String Quartet, Op. 51, No. 1 “Death and the Maiden“ Friedrich Gernsheim String Quartet in E flat major, D. 87 String Quartet, Op. 31 premiere RECORDING audite 92.507 97.503

Johannes Brahms Vol. II String Quartet in A minor, D. 804 String Quartet, Op. 67 “Rosamunde“ heinrich v. Herzogenberg String Quartet in E major, D. 353 String Quartet, Op. 42, No. 1 premiere RECORDING audite 92.524 audite 97.504

Johannes Brahms Vol. III String Quartet in G major, D. 887 String Quartet, Op. 51, No. 2 String Quartet in G minor, D. 173 Felix Otto Dessoff String Quartet, Op. 7 audite 92.552 premiere RECORDING audite 97.505 Dmitri SHOSTAKOVICH: complete String Quartets Mandelring Quartett

Vol. I Quartet No. 1, No. 2 & No. 4 audite 92.526

Vol. II Quartet No. 3, No. 6 & No. 8 audite 92.527 recording: April 11 - 12, 2011 April 23 - 25, 2012 recording location: Klingenmünster Vol. III Quartet No. 5, No. 7 & No. 9 equipment: Sennheiser MKH 20, MKH 40 Neumann KM 130, KM 140 audite 92.528 Brüel & Kjær 4006 RME Micstasy, ADI8QS Dynaudio Air 20, ME Geithain RL 906 Vol. IV Quartet No. 10, No. 12 & No. 14 recording format: pcm, 44,1 kHz / 24bit pcm-dsd conversion: Philips AFC, Sigma Delta type D audite 92.529 sacd authoring: Philips SACD creator disc type: hybrid SACD, stereo and surround layer recording producer: Dipl.-Tonmeister Ludger Böckenhoff Vol. V Quartet No. 11, No. 13 & No. 15 editing: Dipl.-Tonmeister Bernhard Hanke / Dipl.-Tonmeister Reinhard Geller audite 92.530 photos: Uwe Arens, Berlin (Mandelring Quartett) Thomas Müller (Gunter Teuffel) art direction and design: AB•Design