Brahms Artemis

brahms string quartets nos. 1 & 3 artemis quartet 3 ARTEMIS QUARTET Johannes Brahms 1833-1897 String Quartet No. 1 Op. 51 in C minor . en ut mineur . c-moll 1 i Allegro 10:21 2 II Romanze. Poco adagio 6:48 3 III Allegretto molto moderato e comodo 8:44 4 IV Allegro 6:10 String Quartet No. 3 Op. 67 in B flat major . en si bémol major . B-dur 5 I Vivace 10:26 6 II Andante 7:09 7 III Agitato (Allegretto non troppo) - Trio - Coda 8:11 8 IV Poco Allegretto con Variazioni 10:20 TT: 68.24 Artemis Quartet Vineta Sareika, Gregor Sigl violins Friedemann Weigle viola – Eckart Runge cello 4 5 Johannes Brahms trusted friend, the Viennese surgeon Theodor in a field that had not been cultivated for half form, but here this is less of a predetermined String quartets Op.51 No.1 & Op.67 No.3 Billroth, he wrote: “I’m about to publish, not a century” (Brahms the Progressive, 1933). scheme than a framework within which musi- my first string quartet, but a string quartet Schoenberg had in mind not only Brahms’s cal ideas are freely unfurled. There is a clear In 1853, Robert Schumann introduced the for the first time...” And in a joking reference recourse to historical models, but - stemming sense of form: rising and falling figures emerge young Johannes Brahms to the musical pub- to the dedicatee’s profession, he referred to from this - a new, free approach to composi- from the texture and create a wave-like narra- lic with an enthusiastic article in the Neue his Op.51 as a “forceps delivery”, implying tion that could be defined as “musical prose”, tive flow. Propelled by an inner pulsation, the Zeitschrift für Musik, in which he declared that that medical assistance was required to bring in which the individual elements (themes, emotionally charged arc of the music suddenly the world had long been waiting for “the One” these works into the world. “Composing isn’t phrases, etc.) no longer take their place within comes to a halt and then sets off once more who was “destined to give ideal expression difficult. But getting rid of all the unnecessary a predetermined symmetrical system (similar before finally taking flight in a soaring can- to the times” - and now that he was here, he notes is incredibly difficult,” as Brahms him- to verse and rhyming schemes in poetry), but tabile melody. The music is now driven, now had to be acclaimed as “the Chosen One”. self once said. The only way to lay claim to a are shaped according to the demands of the pleading in character, but also has moments Schumann wrote not only about the twenty- genre in which Haydn, Mozart and Beethoven individual work. This leads to the creation of of sadness and consolation. The development year-old’s piano playing, which opened up had set the highest standards was to concen- a unique musical language that is ripe with section is short and to the point, and brings into “wonderful regions”, but also mentioned vari- trate on the essentials, and this was the task possibilities - a living, freely evolving and play various contrapuntal devices (augmenta- ous works that the young man had performed, that Brahms set himself. fluid musical diction. Again in the words of tion, diminution, stretto, etc.) Compositional including piano sonatas (which Schumann per- However, the times were not especially Schoenberg: “The sense of logic and econo- techniques more often associated with develop- ceived as “veiled symphonies”) and “quartets propitious for the creation of pure chamber my and the power of invention which create ment sections can also be found in other parts for string instruments - all so different from music - that is, an “absolute” kind of music melodies of so much natural fluency deserve of the movement. The extensive recapitulation each other, that they seemed to arise from dif- that existed for its own sake. Music inspired the admiration of every music lover who begins almost imperceptibly, before giving ferent sources”. by literature (opera, music drama, symphonic expects more than sweetness and beauty from way to a coda in which the gloomy mood is Which works might Brahms have performed poem) then held sway pretty much everywhere. music” - which is not to say that in Brahms lifted by a transition to C major and a sense of then, two decades before the publication of But for Brahms, programmatic content and the the structural aspect takes precedence over emotional reassurance. Here, the pulsation that his first string quartet? All we know is that expression of feeling were less important than the sensuous, for melting melodic phrases and has underpinned the music until now is still Brahms, with his capacity for lacerating the purely musical considerations of rigorous voluptuous harmonies can be heard everywhere present, but is slowed down through the use of self-criticism, set some works aside for years construction and compositional logic. For many in his music. longer note-values. and often destroyed even those works that of his contemporaries, this came across as a The second movement, to which Brahms gave he had completed. He once admitted that he reactionary approach. It was not until much In the first movement of the C minor quartet, the title Romanze, is more restrained in terms had composed more than twenty quartets in later than Arnold Schoenberg proposed a dif- though the basic metre is 3/2, the metrical rela- of its dynamics. The finely graded homophonic his youth, but then decided that they were not ferent way of looking at things: “It is important tionships are disturbed by the superimposition voice-leading (in which melody and accompa- worth preserving. In 1873, when he dedicated to clarify that, at a time when all believed in of a variety of rhythmic units, and different niment alternate between the upper and lower the two Op.51 string quartets (of which the ‘expression’, Brahms, without renouncing “paces” determine the passage of time. The parts) and calm step-wise motion (with its blur- first, in C minor, dates back to 1865) to his beauty and emotion, proved to be a progressive movement is recognisably in traditional sonata ring of rhythmical accents) create a sequence 6 7 of lyrical mood-pictures that vacillate between Utrecht. But as far as Brahms was concerned, tranquillo passage in which gently undulating Johannes Brahms, melancholy and a more cheerful atmosphere there was a clear difference: “It’s no longer a figurations are passed between the instruments - Streichquartette Op.51 Nr.1 & Op.67 Nr.3 suggestive of a serenade. question of a forceps delivery, but of simply before the return of the opening cantabile, which The 3rd movement, marked Allegretto molto standing by”, he wrote. In fact, the work comes this time is subjected to extensive variations. Mit einem begeisterten Artikel in der „Neuen moderato e comodo, is a scherzo in 4/8-time across almost as a cheerful epilogue to Op.51, In the Agitato third movement, the viola initial- Zeitschrift für Musik“ führte Robert Schumann that never strays for long from the material as the quotation of Mozart’s “Hunt Quartet” ly takes the lead, while the other instruments 1853 den jungen Johannes Brahms in die musi- of the opening bars. But it is still typical of KV458 right at the beginning makes clear. Yet provide a muted accompaniment. This move- kalische Öffentlichkeit ein. Lange habe man the composer in the way in which it makes for all the B flat quartet’s ease and playfulness, ment also features a range of rhythmic devices: auf „den Einen“ gewartet, der „den höchsten great play with metrical relationships, so that the work has to be treated on its own terms, dovetailed rhythms, accents that fall alternately Ausdruck der Zeit auszusprechen berufen it comes across as a sedately trotting yet at as can be heard from its contrapuntal textures, on strong and weak beats, accompanying fig- wäre“ – nun sei er da, bei dem man feststellen the same time strangely urgent march, which bold harmonies and in particular its creative ures that echo the main themes. The textures müsse: „Das ist ein Berufener.“ Schumann is then interrupted by an insinuating lyrical use of different metres: rhythmic devices such range from parts in which the spotlight falls on berichtet nicht nur von dem „wunderbare episode marked lusingando. A more genuine as syncopation, offbeat accompanying figures individual instruments to quasi-orchestral tutti Regionen enthüllenden“ Klavierspiel des contrast is provided by the trio section, marked and typically Brahmsian “cross-rhythms” passages. The sombre colours of this music Zwanzigjährigen, sondern auch von verschie- Un poco animato, which takes the form of (tension generated by the simultaneous use of gives it a nocturnal quality that puts one in mind denen Kompositionen, die er vorgetragen habe, folk-like serenade with a delicate guitar-like duple and triple time). of the demonic aspects of the work of E.T.A. darunter Klaviersonaten (die Schumann als accompaniment. The first movement, marked Vivace, alternates Hoffmann (a writer whom Brahms loved). „verschleierte Symphonien“ empfand) sowie Elements of sonata, rondo and variation all between 6/8- and 2/4-time (these two metres The finale is a set of variations on a graceful, „Quartette für Saiteninstrumente – und jedes play a part in the form of the finale, which are associated with the hunting motif and a gavotte-like theme that undergoes various so abweichend vom andern, daß sie jedes ver- harks back to the emotionally heightened char- polka rhythm respectively); in addition to this melodic and textural transformations during the schiedenen Quellen zu entströmen schienen.“ acter of the opening movement.

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