52 tracks

tHE Recordings Vol. III

Mozart , 1950-1957 recording location: Siemensvilla, Berlin-Lankwitz Studio 7, RIAS Funkhaus, Berlin (K. 428) recording producer: Salomon Hermann Reuschel (K. 421, K. 614) Lehmann (K. 590) recording engineer: Siegbert Bienert (K. 614) Peter Burkowitz (K. 515, K. 516, K. 593) tHE Max Lude (K. 421) Michna (K. 465, K. 575, K. 589) Ribbentrop (K. 428, K. 581) Amadeus Quartet Schmidt (K. 464, K. 590) Recordings Berlin, 1950-1967

Eine Aufnahme von RIAS Berlin (lizenziert durch Deutschlandradio) recording: P 1950 - 1957 Deutschlandradio research: Rüdiger Albrecht remastering: P 2014 Ludger Böckenhoff rights: claims all rights arising from copyright law and competition law Vol. III MOZART in relation to research, compilation and re-mastering of the original audio tapes, as well as the publication of these tracks. Violations will be prosecuted. The historical publications at audite are based, without exception, on the original tapes from broadcasting archives. In general these are the original analogue tapes, mstaster release which attain an astonishingly high quality, even measured by today’s standards, with their tape speed of up to 76 cm/sec. The remastering – professionally competent and sensitively applied – also uncovers previously hidden details of the interpre- Amadeus-Quartett tations. Thus, a sound of superior quality results. Publications based on private 1 recordings from broadcasts cannot be compared with these. I We have made every attempt to clear rights for all material presented here. Should you violin II nonetheless believe that we have accidentally infringed your rights, please let us know at your earliest convenience. We will endeavour to resolve any issues immediately. photos: Deutschlandradio-Archiv art direction and design: AB•Design viola II clarinet Heinrich Geuser

e-mail: [email protected] • http: //www.audite.de © 2014 Ludger Böckenhoff No. 14 in G major, K. 387 27:10 String Quartet No. 18 in A major, K. 464 32:57 ‘1. Haydn Quartet’ ‘5. Haydn Quartet’ I. Allegro vivace assai 5:53 I. Allegro 7:29 II. Menuetto. Allegro 8:35 II. Menuetto 6:17 III. Andante cantabile 8:30 III. Andante 13:40 IV. Molto allegro 4:12 IV. Allegro non troppo 5:31 recording date: 10.6.1950 recording date: 23.4.1951

String Quartet No. 15 in D minor, K. 421 (417b) 24:23 String Quartet No. 19 in C major, K. 465 25:46 ‘2. Haydn Quartet’ ‘6. Haydn Quartet’ Dissonance I. Allegro moderato 5:53 I. Adagio – Allegro 7:56 II. Andante 5:18 II. Andante cantabile 7:23 III. Menuetto. Allegretto 3:39 III. Menuetto. Allegro 4:53 IV. Allegro ma non troppo – Più allegro 9:33 IV. Allegro molto 5:34 recording date: 9.5.1955 recording date: 2.12.1953

String Quartet No. 16 in E-flat major, K. 428 (421b) 24:00 String Quartet No. 21 in D major, K. 575 19:57 ‘3. Haydn Quartet’ ‘1. Prussian Quartet’ I. Allegro non troppo 4:58 I. Allegretto 5:06 II. Andante con moto 6:50 II. Andante 3:49 III. Menuetto. Allegro 6:49 III. Menuetto. Allegretto 5:20 IV. Allegro vivace 5:23 IV. Allegretto 5:42 recording date: 30.10.1950 recording date: 2.12.1953 String Quartet No. 22 in B-flat major, K. 589 20:45 No. 3 in C major, K. 515 31:04 ‘2. Prussian Quartet’ I. Allegro 9:14 I. Allegro 4:34 II. Menuetto. Allegretto* 5:33 II. Larghetto 6:00 III. Andante 8:49 III. Menuetto. Moderato 6:17 IV. (Allegro) 7:28 IV. Allegro assai 3:54 Cecil Aronowitz, viola recording date: 2.12.1953 recording date: 19.9.1953

String Quartet No. 23 in F major, K. 590 22:00 String Quintet No. 4 in G minor, K. 516 30:37 ‘3. Prussian Quartet’ I. Allegro 7:24 I. Allegro moderato 6:26 II. Menuetto. Allegretto 5:00 II. Andante 6:34 III. Adagio ma non troppo 8:09 III. Menuetto. Allegretto 4:14 IV. Adagio – Allegro 10:04 IV. Allegro 4:46 Cecil Aronowitz, viola recording date: 23.4.1951 recording date: 19.9.1953 Clarinet Quintet in A major, K. 581 28:48 I. Allegro 6:14 II. Larghetto 6:19 III. Menuetto 6:53 IV. Allegretto con variazioni 9:22 *The Menuett is played as the second movement, rather than the third, according to Heinrich Geuser, clarinet the first edition (: Artaria, 1789). Only once the Neue Mozart-Ausgabe had been recording date: 16.12.1952 published in 1956 did the Amadeus Quartet play the Andante before the Menuett. String Quintet No. 5 in D major, K. 593 23:08 The Amadeus Quartet plays Mozart – coincidence may also play a role in naming I. Larghetto – Allegro*1 7:37 a matter of the heart an ensemble – however, to name a quar- II. Adagio 6:37 tet after a composer necessarily draws The idea to name a young string quartet attention to a particular direction. For the III. Menuetto. Allegretto 4:47 2 the Amadeus Quartet was doubtless a Alban Berg Quartet this meant that each IV. Allegro* 4:07 stroke of luck and genius: for several dec- concert given by the ensemble was to Cecil Aronowitz, viola ades, from the 1950s until the 1980s, this contain a twentieth century piece; for the ensemble was regarded as a guarantor for Soviet , who premièred recording date: 19.9.1953 promulgating the classical quartet reper- nearly all the Shostakovich string quartets, toire. The playing of these four musicians the name was more a reference to West- String Quintet No. 6 in E-flat major, K. 614 21:46 was in a league, certainly in the beginning, ern culture. The Amadeus Quartet were where they did not need to fear much surely aware of the fact that their name, I. Allegro di molto 5:28 competition: at the time, only the Juilliard which had been suggested by Sigmund II. Andante 7:27 Quartet and the and a Nissel, the second violin, would evoke the III. Menuetto. Allegretto 3:42 handful of other ensembles performed at person and the oeuvre of Wolfgang Ama- IV. Allegro 5:09 the same level. deus Mozart. Indeed, this name referred Cecil Aronowitz, viola Naming a string quartet almost always both to the players’ deep connection to carries a deeper significance, for soon the composers of Viennese Classicism – recording date: 29.11.1957 after the name becomes a label that is Mozart, Haydn and Beethoven – and also intended to focus the listener’s expecta- to the Austrian heritage of the quartet’s tions towards a certain direction. Fre- members (with the exception of the Brit- *1 On the original tape, the opening moments of the first movement are missing. quently, it is the name of the first violinist ish cellist, Martin Lovett). The middle name Since the slow introduction of the movement is repeated verbatim, the missing opening that becomes the mark of quality; often “Amadeus” denotes more than the person was replaced with the corresponding section from the repeat (bars 233-237). it can also be a geographic name which is of (who some- intended to indicate a regional or cultural times signed as “Amadé”, though this name *2 The divergent passages in the fourth movement are a consequence of the fact that, affinity. The Quartetto Prometeo and is not listed on his baptismal register): in until the publication of the Neue Mozart-Ausgabe in 1956, the chromatic runs had the Quatuor Diotima were even inspired the Latinised form, this name, over time, appeared as diatonic passages (according to an alteration in an unknown hand). by the works of Luigi Nono. Sometimes, became synonymous with classical culture (and even a style icon of pop culture thanks the inner voices are the content, the wine; deus Quartet. There were nights when he otherwise he would not be worthy of his to a film and a pop song of the 1980s). they are the quality. [...] The first violin rose above himself, so to speak, but he position. The members of the Amadeus The musicians were not able to reveal has – day after day – to play the most dif- also had weaker moments. In an inter- Quartet often spoke about questions of a recipe for their lasting success, although ficult part, often much more challenging view with Ursula Hübner (RIAS, 1990) interpretation and performance practice. they realised that their continual pres- than those of a normal solo violinist play- Siegmund Nissel described the part of In a conversation with a Berlin school ence in the greatest concert halls across ing concertos. [...] [The cello] is the glue the second violin as a great challenge, for class, recorded by RIAS in 1970, Brainin the globe and their well-balanced reper- that keeps everything together, provid- although the instruments (i.e. the first answered a question about routine as fol- toire played an important role in it. Possi- ing form. It is not just the bass part, but and second ) were the same, the lows: “Of course that is a problem, nor- bly even more important was the human the basis of good intonation. It provides second violin played in a lower register. mally. But that problem can be overcome aspect – four distinctive individuals, each harmony and everything connected with According to Nissel, it was necessary to if, whenever one plays the same work again contributing their own interests, abilities that.” And the inner parts? “The key for be able to characterise in order to cre- and again, one plays it in such a way as if it and problems to the group, though at the quality perhaps is great, continuous reli- ate a good balance; the second violin were the first time one had ever set eyes same time they achieved and maintained ability”. (It is not known whether Norbert did entirely its own thing. Therefore, he on it. In my opinion, and I believe my col- a sense of homogeneity which enabled Brainin agreed with Nissel’s metaphor.) explained, it was wrong for the two vio- leagues agree with me on this, that the bet- them to remain without any changes in Within a quartet formation, every sin- linists in a quartet to change their posi- ter one knows a particular work, the more personnel for over forty years: a record gle member has a clearly defined, particu- tions. The two inner parts (second violin one can improvise.” And his colleague which has hardly been achieved, let alone lar function within the whole. Norbert and viola) often determined the tempo Siegmund Nissel added at this point: “And surpassed, by any other quartet forma- Brainin, the first violin, was, from the for they frequently played pulsating lines. the freer one can be in the interpreta- tion. It was not until the death of Peter outside, considered the driving force of Musical details were determined tion.” In answer to a question about spon- Schidlof in September 1987 that the Ama- the ensemble. Often he was accused of according to majority rule; compromises taneity in interpretation, Brainin said: “Oh deus Quartet was dissolved. dominating the proceedings with his top were not acceptable as solutions. Thus, yes, to a certain extent [the performance] line and using too much vibrato, though particularly during the early years, there is spontaneous, since the feeling has to be Questions of interpretation at the same time it was commented that were often strong arguments which occa- spontaneous. One can compare this to On one occasion, Siegmund Nissel com- he tended to produce a small tone. The sionally tested the limits. Later on, the an actor – playing his part, he also knows mented on the relationship between the surviving sound documents only partially musicians tended to reach a consensus what he will say, and when and how he will four string instruments: “A string quartet confirm this; however, it cannot be denied intuitively. Norbert Brainin was convinced say it. However, the final element depends is like a bottle of wine. The first violin is that Brainin’s style of playing significantly that a quartet leader had to be able to on the moment. [The agreement which the label. The cello is like the bottle. And shaped the characteristic tone of the Ama- make the best case for certain points, for does not need to be discussed], that is something which we possess. That means his “Haffner” and “Linz” Symphonies, the fugue. In April 1782, shortly before One year after finishing his “Disso- great sympathy for each other, for our Mozart composed a set of six string setting out on his work on the string nance” Quartet, K465, Mozart planned playing together and a sense of concur- quartets in 1782/3 whose first edition quartets, Mozart was in Berlin and fre- once again to start work on a series of rence in matters of taste and opinions. Of he dedicated to Haydn. This dedication, quently visited Baron Gottfried van quartets. Personal circumstances, how- course we have that, otherwise we would addressed to a revered composer, was Swieten who introduced him to the music ever, prevented the completion of this not be able to play together.” remarkable since dedicatees, at that time, of Johann Sebastian Bach and George Fri- project: he only wrote the one quar- typically tended to be patrons or com- deric Handel. Mozart arranged several tet, in D major (K499). Its sobriquet The works missioners. The high regard expressed fugues from Bach’s Well-Tempered Clavier of “Hoffmeister” Quartet referred Mozart’s twenty-three string quartets here was mutual: when Mozart, shortly for string quartet, adding his own prel- to the publisher of the first edition form two blocks which are separated after completing his “Dissonance” Quar- udes (as van Swieten’s edition of the 48 which appeared in Vienna, Franz Anton from each other by a period of nine tet, played his six “Haydn” Quartets to did not contain any preludes). Whilst in Hoffmeister. (Neither this work nor the years. The first thirteen string quartets their dedicatee, Haydn said to the com- Mozart’s youthful works the fugue was “Hunt” Quartet in B flat, K458, were are attributed to the composer’s early poser’s father, Leopold: “I say to you hardly more than a historical reference, recorded for this edition.) period. They were mostly written in 1772 before God, as an honest man, your son a stylistic quote, it had now become a Whilst visiting the Prussian king Frie- and 1773, when Mozart was sixteen and is the greatest composer that I know in component of his compositional process. drich Wilhelm II in Berlin in the spring seventeen years old. His three Diverti- person and by name: he has taste, and In the G major Quartet, the constructive of 1789, Mozart began his final quartet mentos, K136-138, form part of the begin- therewithal possesses the greatest com- element advances right to the sonic sur- cycle, intending to dedicate it to the king. nings of the string quartet genre; his six positional prowess.” Today, the “Haydn” face. The D minor Quartet, K421, on the One year later, this project was aban- “Milanese Quartets” (K155-160), on the Quartets – which, due to their complex other hand, is markedly different: all four doned after the third piece. Even though other hand, pick up on the tradition of the structures, disconcerted Mozart’s con- movements are dominated by a tragic he did not dedicate these quartets to the Neapolitan sinfonia. Mozart’s six “Vien- temporaries – are considered a peak of tone. The fourth movement in particular, king, they have become known as the nese Quartets” (K168-173) reveal that he the classical style, works which present a set of variations, pushes forward into “Prussian” Quartets. These last quartets studied Joseph Haydn’s quartets Opp. 9, 17 musical classicism in its greatest perfec- completely new expressive realms. Vari- by Mozart seem lighter and more con- and 20. Despite many beautiful details and tion. The dichotomies between the first ous twists and turns, as well as the wide cisely argued than the “Haydn” Quartets. formal experiments, all these pieces are two quartets define the scope for the expressive spectrum, seem to anticipate In the movements he composed first, the overshadowed by his mature quartets. remaining four pieces. In the finale of the the movements with variations of Franz cello part takes on a soloistic role, paying At the same time as his Singspiel Die G major String Quartet, K387, Mozart’s Schubert which would not be written for tribute to the cello playing king. Entführung aus dem Serail, and between writing is dominated by Bach’s world of another forty years. The Amadeus Quartet plays Mozart left the label and therefore this project. the then West Berlin radio station RIAS Articulation, bow changes and intona- Mozart’s ten great string quartets repre- It is not at all unusual for a string quar- which, following the German reunifica- tion are rehearsed so carefully that the sented, from the beginning, a central part tet to expand into a string quintet by add- tion, became part of today’s Deutschland­ musicians (as well as the listener) never of the Amadeus Quartet’s repertoire. ing a second viola or cello. However, it radio in 1994. lose sight of the details. The Amadeus Most concert programmes – except is remarkable how intensively the Ama- Mozart string quartets were already Quartet do not indicate phrase endings of course the Beethoven cycles and a deus Quartet explored the variety of scheduled for the first two sessions at by modifying the tempo but by impercep- small number of special programmes – Mozart’s which includes the RIAS: here, a very early and quite tibly lessening the bow pressure. In the included a Mozart or a Haydn quar- the clarinet quintet and the flute quar- experimental interpretational approach few cases where the flow does falter due tet. The thirteen early quartets, which tets, the oboe and the horn quintet and of the ensemble becomes noticeable. The to a ritardando, this becomes particularly even today are not played much by the much more besides. On the one hand complete technical mastery and the sense noticeable: in the first movement of the great string quartets, were apparently this shows that the four musicians had of creative assurance hint at the intensive G major Quartet, K387, two imperfect only rehearsed by the Amadeus Quar- no qualms about working with other rehearsal phase that must have preceded cadences occur towards the end of the tet from the mid-1970s for a complete musicians. On the other it reveals the these recordings. The most important exposition – played in this manner, they recording of the Mozart quartets. When significance that Mozart’s works held interpretational concept is the endeavour seem like exclamation marks. the Amadeus Quartet embarked on its for the Amadeus Quartet; taking into to unite under one arc the formal process The quasi-experimental approach of international career in the early 1950s, account the Amadeus Quartet’s legacy of an entire movement, even of an entire these early recordings made in 1950 is there were just a handful of recordings of of recordings for radio and on disc, no work. This unity is not disturbed by any down to the reading of the dynamic indi- Mozart quartets available; in some cases, other composer is as well represented caesuras added to the score. At no point cations in the score. In this case, forte and only individual movements had been as Mozart (adding records and German do the players leave the stable tempo or piano are defined with widely separated recorded. The D minor Quartet K421 radio recordings results in around one interrupt the musical flow; once chosen, degrees of volume which sometimes remained the most popular one for a long hundred recordings!). the pulse is not watered down. Never is results in a harsh tone. The literal reali- time. In the mid-1950s, the small Ameri- there any hint of rushing or urging: choos- sation of the dynamic indications defines can label Westminster set out to make a About the recordings ing a “natural” pulse is the prime objec- the form (not just) of the first movement complete recording of the Mozart string The recordings presented in this edition tive (which is why the chosen tempi are of the E flat major Quartet K428, when quartets (including the early works) with were made mainly between 1950 and often more moderate than those of other two sections of two bars each are treated the and the Vienna Kon­ 1953; two were made in 1955 and 1957, quartet ensembles of the time). The Ama- as blocks opposing each other. zerthaus Quartet. The Amadeus Quartet respectively. The Amadeus Quartet real- deus Quartet faces the danger of neglect- It is not known whether this extreme had made the first recordings, but then ised them during their annual sessions at ing phrasing by concentrating on detail. stylistic device was intended, at the time, shortly after the war, to expel all senti- fact that three string quintets were tras and was principal viola of the English the cantabile melodic lines and the “bit- mental elements from Mozart’s music. recorded in a single session on the even- Chamber Orchestra, the Mozart tersweet” tone of the clarinet which is The quasi objective presentation of ing of 18 September 1953 reveals how Players and other London-based chamber often treated as a soloist. In this radio the music, however, avoiding technical intensively the music must have been orchestras. Occasionally he appeared as a recording, the Amadeus Quartet perform devices of the past such as portamento, rehearsed. (The E flat major Quintet, soloist but perhaps became most famous alongside Heinrich Geuser. Born in 1910 as well as audible shifts, would indicate K614, was recorded later on, in 1957.) through his work with the Amadeus in the Bavarian town of Nördlingen, the such an aim. Merely the fact that Mozart’s Mozart had composed the two String Quartet. This began during the very early clarinettist had studied at the Akademie works are never played like this makes Quintets K515 and K516 in April and years of the Amadeus Quartet’s career der Tonkunst in from 1926 until these recordings precious documents. May 1787, six months before he embarked and ended in 1978 when Cecil Aronow- 1929. He died in 1996 in Bayreuth. Wil- As rapidly as 1951, just one year later, on Don Giovanni. In their contrariness itz suffered a stroke during a concert and helm Furtwängler discovered him in 1936 the dynamic indications were no longer they create a pair which has been com- died on the following day. Both musically in Coburg and gave him a position in the taken as an absolute, but as gradations pared to his two final Symphonies, K550 and personally, Aronowitz was well- orchestra at the Berlin Staatsoper Unter of a scale. (The limitations of the tech- in G minor and the “Jupiter” Symphony in matched to the players of the Amadeus den Linden. In 1939 Geuser became a nique described above become obvious C major, K551. During the last two years Quartet and was considered the fifth member of the Bayreuth Festival Orches- in a movement such as the minuet of the of his life, Mozart composed the Quintets member in their frequent joint perfor- tra. In 1949 Ferenc Fricsay engaged him String Quartet in E flat major, K428, when in D major, K593, and E flat major, K614, mances. As he did not play a particularly as principal clarinet of the then newly a fortissimo, which occurs very rarely in which are both constructed in a more precious instrument, the musicians jest- formed RIAS Symphony Orchestra. At Mozart’s chamber music, can hardly be concise manner than their predecessors. ingly asked themselves how he was able the Hochschule für Musik in Berlin he distinguished from a forte.) All four string quintets (there are also to conjure such beautiful sounds from took on a clarinet class and in 1961 was The recordings made during the ses- two earlier ones) are now considered such an old orange box. duly appointed as a professor. He became sions in September and December 1953 unrivalled peaks of Mozart’s chamber The Clarinet Quintet in A major, K589, famous with his recording of Mozart’s were particularly successful: not only music. The second viola part was played, was written in September 1789 when clarinet concerto under Ferenc Fricsay. is the playing technically accomplished, as always, by the British violist Cecil Mozart was in the middle of finalising his At RIAS he took part in many dozens of but it is also exceedingly inspired – as Arono­witz. Born in 1916 in King William’s three “Prussian” Quartets. He composed studio recordings up until the 1970s. It for instance in the Larghetto of the B flat Town, South Africa, he studied violin at it for his clarinettist friend Anton Stadler, is remarkable that the great majority of major Quartet, K589. The sessions of the in London and for whom he also wrote his clarinet con- these recordings were dedicated to the September 1953 were exclusively dedi- switched to the viola in the mid-1940s. certo two years later. The extraordi- then contemporary music. The record- cated to recording string quintets – the He played with all major London orches- nary popularity of the piece stems from ing of the clarinet quintet presented here demonstrates Heinrich Geuser’s master- Thank you for your interest in this audite recording. ful technical control in combination with Please note that this free PDF version of the booklet is for your personal use a blossoming, flexible tone. Perhaps he only! We kindly ask you to respect our copyright and the intellectual property of would have agreed with Siegmund Nissel’s our artists and writers – do not upload or otherwise make available for sharing comment about Mozart (from the afore- our booklets or recordings. mentioned conversation with Ursula Hübner): “His perfection is such that one can hardly comprehend it. Beethoven achieved things in the development of music which Mozart did not experience; a development in musical history. How- ever, Mozart perfected something which Already issued by audite: already existed in outline. That is also a development. But something as perfect as Mozart – I feel shivers going up and down my spine just thinking about it”.

Rüdiger Albrecht Translation: Viola Scheffel ) audite 21.424 (7CDs)audite 21.424 audite (2 CDs 21.428 documentation sheet documentation sheet documentation sheet documentation sheet documentation sheet