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TH ANNIVERSARY

BORODIN QUARTET 60 QUARTET BORODIN ONYX 4002 Booklet 7/4/05 12:17 am Page 1 Page am 12:17 7/4/05 Booklet 4002 ONYX ONYX 4002 Booklet 7/4/05 12:17 am Page 2

ALEXANDER BORODIN (1833-1887) String Quartet No. 2 in D Major • ré majeur • D-Dur . re maggiore 1 Allegro moderato 8.45 2 Scherzo: Allegro 5.10 3 Notturno: Andante 8.37 4 Finale: Andante-Vivace 7.14 (1840-1893) 5 Andante cantabile (from String Quartet No. 1) 7.22 SERGEI RACHMANINOV (1873-1943) 6 Romance 6.13 FRANZ SCHUBERT (1797-1828) 7 Quartettsatz 9.37 ANTON WEBERN (1883-1945) 8 Langsamer Satz 11.08 ALEXANDER BORODIN (1833-1887) 9 Serenata alla Spagnola 2.18 p2 Total Time 66.28

BORODIN QUARTET Rubén Aharonian (violin) Andrei Abramenkov (violin) Igor Naidin (viola) () p3 The Borodin Quartet at 60 60 Quartet at The Borodin so in (and cellist does its so too up an anniversary, Quartet notches the Borodin Whenever Russians call ‘the Quartet the named as what ensemble marks 60 years 2005, while the much as it should This is very on his 80th birthday). Berlinsky Valentin also toast we Borodin’, of and soul of the quartet. As anchorman throughout Berlinsky is both patriarch be: “Valentin” name in 1955, Berlinsky has present its for authorities the Soviet to which turned the group guided the quartet through years, of personnel in the early many changes through lived to tones and still imparts cultured tours, his ineffably and on countless home difficult times at incarnation. its latest class of the the cello from graduated and not yet still in his teens, Berlinsky was other students. The a quartet with three the autumn of 1944 he formed when in Conservatory, chamber department, in the Conservatory’s professor an inspirational was guiding force until who stayed Dubinsky, first violinist Rostislav were while the other players Mikhail Terian, (Nina was – Nina and . violin and viola respectively and – as second the 1970s, the from extent a certain to the Barshais suffered Vladimir Rabei, who like first by replaced conductor a future Rudolf, Alexandrov; Yaroslav then by Stalin years, anti-Semitism of the late functioned under the title of the Moscow Dmitri Shebalin). At first they by integrity, of great of the most sheerly the composer as their figurehead took Philharmonic Quartet; in 1955 they Borodin. Alexander beguiling specimens in Russian musical history, musical thinking. An the Borodins’ dominated has always Another major Russian figure dreamy- the Barshais and a shock-haired, Dubinsky, 1946 shows from photograph evocative of 15 quartets whose cycle – the composer round Berlinsky gathered eyed celebrated The Borodins’ repertoire. of the 20th century the cornerstone become to was due to was deference though in those initial years started early, with these works association the premières be granted to not the first were Quartet. ‘We of the Beethoven the senior players a bound by was Shostakovich know, now Berlinsky – as we says quartets’, of the Shostakovich presented always – ‘but we established group the more right to sense of honour in giving that ONYX 4002 Booklet 7/4/05 12:17 am Page 3 Page am 12:17 7/4/05 Booklet 4002 ONYX p4 ONYX 4002Booklet7/4/0512:17amPage4 his memoir Yet theBorodins were never a‘Soviet’ inthepejorative quartet senseoftheword. Dubinsky, in Borodins recorded in1967, onlyto meetwith official oppositionto theLP’s release. Weinberg, Lev Knipper, BorisTchaikovsky andAlfred Schnittke the –whoseFirstQuartet composers were ourfriends,sowe hadaduty’. ThelonglistofnamesincludesMoisei embarking onyet another première. AsBerlinskyremembers, though,‘mostofthese beginning to wonder didn’t whythequartet investigate theentire Haydn cycle before genrequartet are snatched rightfrom undertheirpensby theBorodins’. Even Shostakovich was According to thejournal which theclassicalandromantic repertoire tended to beovershadowed by thecontemporary. composer himselfandSviatoslav Richter –they were ofanambitiousprogramme onlypart in the PianoQuintet, whichthey performed at various timeswithvery different pianistsinthe Although Shostakovich’s soonbecamecentral quartets to theBorodins’ repertoire –alongwith to thesealbums’.) recordings have acquainted mewithyour brilliantmastery. Iderive immensejoy from listening andmyoctet,’quartets wrote Shostakovich on14December 1967. ‘Your splendidgramophone himself: ‘Please accept myheart-felt gratitude for your magnificent performance ofmy which were stillto –would bewritten later evoke anecstatic response from thecomposer sure ofwhat we were playing.’ (Theirfirstcomplete recording –minusNos.14&15 ofthequartets has almostreligious overtones). ‘Henever spoke aboutthemeaning –butwe were 100percent them to himbefore we played theminpublic,justto have hisfinalblessing’(theRussianphrase bread-and-butter (or rather samovar-and-raspberry-jam) stalwarts oftheirrepertoire – the smug’, styleof theBorodins theflexible hasnever routine permitted to creep ineven withthe of colours. Intheirplace was somethingelse,insolent andsmug.’ Very far from ‘insolentand everything that issoattractive inquartet-playing: ensemble,refined flexible phrasing, variety traditional playing was branded “non-Slavic” (read “Jewish”). Thisnew styleneglected writes, was a‘coarse-ground’ one:‘it cameinto fashion inMoscow after thewar, when to avoid whenhewrites ofafemale they quartet once faced incompetition. Theirstyle,he Stormy Applause Stormy Sovietskaya Muzyka Sovietskaya , hasdefinedwhat itwas inSoviet playing quartet they managed , ‘all new works created by ourcomposers inthe p5 Borodin and Tchaikovsky quartets. It would have been all too easy; after all, these were the were all, these after easy; too been all have quartets. It would and Tchaikovsky Borodin these funeral; Stalin’s at and over over play to had been forced which they movements slow in East troupe a circus accompany to used which they movements the song-and-dance were as ‘the Second) Borodin’s (in the case of for clamoured which Americans eagerly Germany and and the freshness work, signature of this their recording In the present Kismet’. music from breathtaking. the music-making remain spontaneity of in violinists as first and second Abramenkov and Andrei of Mikhail Kopelman With the arrival a was ‘there that believes a little. change Abramenkov bound to was the identity the mid 1970s, philosophical level.’ the music, on a deeper and more of evaluation conscious and very new of Shostakovich cycle on the complete bear to be brought Certainlymuch philosophy had to audiences in the 1980s. For the world around present began to team quartets the new which found and managements of the highest authenticity interpretations outside , these were full houses. to sell played to hard as regarded previously repertoire that their amazement to and in its steady Shostakovich’s anticipate – the only one to however another cycle, was There it remained, Yet in its entirety. play to reluctant was – which Kopelman painstaking evolution to first note quartets from all Beethoven’s play to of my life: dream great ‘the Berlinsky, says viola-player and the 26-year-old solo violinist Rubén Aharonian the outstanding In 1995/6 last.’ Conservatory, Moscow the and Berlinsky at Naidin, who had studied under Kopelman Igor worked team the Together the challenge. became and Beethoven era; a new inaugurated of Op. 18 up the set make the six that the series, from seriously and painstakingly through cycles, quartets. Their first concert late of the fathomless challenge the ultimate to through spaced carefully in performances alongside Shostakovich Beethoven starting in 2000, placed than it might step alone – a braver Beethoven face decided to Then they seasons. two over alongside or another composer Shostakovich play put it, ‘when you seem. As Aharonian your change you that in the same way concentration angle of your can change you Beethoven, quartets in a Beethoven or three two playing But after easily. more breathe clothes, and we and exhausted.’ devastated absolutely feel we single concert, ONYX 4002 Booklet 7/4/05 12:17 am Page 5 Page am 12:17 7/4/05 Booklet 4002 ONYX p6 ONYX 4002Booklet7/4/0512:17amPage6 For more information abouttheBorodin please Quartet visitwww.onyxclassics.com within theindomitableworld ofRussianmusic,lookssetto continue for manyyears to come. at homeandabroad. Thisisnotsomuchhistory, butalivingtradition which,like somuch Bashmet andBerlinsky’s daughter Ludmila–they alsogive masterclasses toquartets fledgling to theirwork withotheralready celebrated instrumentalists–includingviola-player Yuri isn’t that onlywithinthequartet several generations ofRussianstring-players meet.Inaddition most intense groups andseriousofquartet canbringto hismasterpieces. Inthemeantime, it secrets Beethoven yieldsuponeach new playing, there are nolimits,either, to theinsightsthis This isthechallenge they face witheach new cycle –andjustasthere are nolimitsto the © David Nice 2004 p7 ) lead off with the main melody in the cello and with the main melody in the cello off ) lead Nocturne ALEXANDER BORODIN (1833-1887)ALEXANDER BORODIN String Quartet Major No. 2 in D musical develop to ways music is one of the most potent chamber that ‘I am deeply convinced music of chamber lover ardent an was Indeed, he Borodin. wrote and understanding’, taste and quartets. trios So in amateur delight in playing great took a cellist and as age, a young from of the Russian laid the foundation quartets, his along with Tchaikovsky’s, that it is no surprise quartet tradition. from dates work, most famous the composer’s Igor, Quartet, which is, with Prince The Second first declaration of the composer’s anniversary the 20th commemorate written to 1881. It was Borodin, exclaimed through!’ I went think what to ‘God, Catherine. wife his future to of love and grief!’ of joy a combination time of their first meeting. ‘What the exhilarating recalling to not fanciful in this quartet. And it is surely hold sway and uplifting tones Only bright, joyous as both first him and the first violin his wife, instrument represents own Borodin’s that suggest (the famous movements and third feature much loving alternation, imitation and interaction. and interaction. imitation alternation, much loving feature The first movement in structure. traditional is not entirely cycle four-movement The quartet’s not the or struggle. Next comes lyricism, with no hint of drama soft of entrancing is a world the to which, according the scherzo, but classical tradition, as in the Viennese movement slow Its unique Petersburg. near in one of the gardens walk an evening by inspired was composer, and impressions of such real-life particularly seems evocative waltz, a lilting central feature, and an of the work the emotional core Nocturne then follows, memories. The famous people. young two between encounter of an amorous enchanting musical portrait exquisitely finale opens with a and bliss, the quartet’s rapture this languorous to In counter-balance The quartet as a whole Vivace. and energetic an invigorating by answered questioning Andante, and it has been part in history of the presents anniversary one of the most exquisite is surely indeed. work 1948 – their signature since repertoire ensemble’s Borodin ONYX 4002 Booklet 7/4/05 12:17 am Page 7 Page am 12:17 7/4/05 Booklet 4002 ONYX p8 ONYX 4002Booklet7/4/0512:17amPage8 this Andante, they don‘twant to hear anythingelse’. Nevertheless, thewords from composer went ontour, are sothat sotaken hefinallynoted upwith withsome irritation, ‘They many times.Thepiece becamehismusicalsignature, was invariably played whenever the quartet’. Subsequently, Tchaikovsky rearranged itfor stringorchestra andconducted ithimself ‘as whenLeoTolstoy shedtears ashesat next to meandlistened to theAndante ofmyfirst in mylife beensoflattered pridesotouched’, andhadmyartistic wrote Tchaikovsky inhisdiary, gained exceptional popularity. Tolstoy was enraptured: particularly ‘Ihave perhaps never before folk melodycontrasts withthepassionate amorous outburstofthesecond theme,immediately In particular, theQuartet’s slow movement, Andante cantabile, inwhichthemelancholyofa caused asensation inPetersburg’, Tchaikovsky wrote to hisbrother. warm welcome, enjoying even greater success whenfirstgiven inthecapital.‘Myquartet hopeless fatalism ortragedy. Atitspremière inMoscow on16March 1871 itwas given avery romance, brightlyricalemotion,andthespontaneouslove oflife, andwithouttrace of and theSixthSymphony. Bycontrast, isfullof inFebruary written hisfirstquartet, 1871, years to anythinglike thedegree itwould duringthelater years ofsay, abouthimself.said Butthethemeofdeath didnotoccupy thecomposer duringhisyounger ‘A personwhopassionately loves life andnolesspassionately hates death’, Tchaikovsky once No. 1inDMajorop.11:AndanteString Quartet Cantabile PYOTR ILYICH TCHAIKOVSKY (1840-1893) charm ofthis note hasdiedaway, theaudience isstillafraid to break thesilence evoked by theirresistible wonderful pieces ofRussianmusic;there isthefeeling that for several seconds after thelast novosti (Moscow News) of1881stillapply:‘ Andante ’. Andante cantabile Andante is really oneofthemost The Queen of Spades of Queen The Moskovskie p9 were Scherzo . Although he and Scherzo and Romance Romance attached no great importance to them at the time, they have a certain significance in the in significance a certain have they the time, at them to importance no great attached the at Concert an Open Beginners’ for At the end of 1890, of his fledgling career. development and string orchestra, for quartet pieces his two arranged Rachmaninov Conservatory, Moscow then was as a conductor His appearance them himself. conduct he could that promised was of première the attending him from prevented rehearsals but not before cancelled, see the Skalon also hoping to he was where The Queen of Spades in Petersburg, Tchaikovsky’s of my be deprived I would ‘If I had known captivated. somewhat with whom he was sisters, Rachmaninov. said a distressed written it’, have never because of this thing I would leave of versions the orchestrated the beginning of 1891, at However, SERGEI RACHMANINOV (1873-1943) RACHMANINOV SERGEI Romance melodies, Rachmaninov violin and heart-rending lingering exquisite, for a reputation Despite for pieces two are exceptions Among the few string instruments. for works few very wrote student: string quartet written as a sixteen-year-old performed under the baton of Vasily Safonov, and these marked the first orchestral and these marked Safonov, of Vasily under the baton performed not were they Although as quartet pieces work. composer’s of the young performances not least stage, on the concert gained a foothold have they his death, published until after 1951. them since been playing Quartet, who have the Borodin by performances through (1797-1828) FRANZ SCHUBERT ‘Quartettsatz’ D703 String Quartet No. 12 in C Minor, of one of his the first hearing after how recalls Lachner, Franz friend and admirer, Schubert’s ‘This remarked, in the performance, participating piece quartets, Ignaz Schuppanzigh, who was songs!’ Fortunately, your stick to do better to would You brother. itself, for say has nothing to including 15 chamber scores, many different He composed Schubert did not heed this advice. a special occupies The ‘Quartettsatz’ of quartet literature. the treasury belong to quartets that December from dating of an unfinished quartet in C Minor, It is the first movement here. place in Ab. Andante the first 41 bars of a tragic it, Schubert1820. In addition to composed ONYX 4002 Booklet 7/4/05 12:17 am Page 9 Page am 12:17 7/4/05 Booklet 4002 ONYX p10 ONYX 4002Booklet7/4/0512:17amPage10 almost sixtyyears for itsfirstperformance. work isnow at least aspopularanyofhis 12-note orserialcompositions, despite waiting Paradoxically, thoughhardly surprisingly given itsaccessible musical language, thisbeginner’s poem, andeach inspiration conveys anentire romance’. his later refined andultra-economical work, inwhich,ashistutor putit,‘each glance becomes a demonstrate thebrilliantmusicaltalentofyoung Webern and standinstarkcontrast with lyrical andcontinuously flowing melody, expansive linesandvery emotionalromanticism chromatic early masterpieces oftheturncentury Verklärte andinparticular Nacht.The Spring of1905,anditsmusicalinfluences are Schoenberg’s own late romantic andhighly inspiration was anidyllicholiday Webern took withhisfuture wife inLower Austriainthe young Webern whilestudying inViennawithhisidolArnoldSchoenberg. Itsimmediate Satz (‘slowLangsamer movement’) belongsinagroup ofseveral pieces quartet by written the Satz Langsamer ANTON WEBERN(1883-1945) for themastery ofwhat we have, alltinged by regret for what mighthave been. ‘Quartettsatz’ willalways retain aspecialfascination, for the reasons behinditsincompletion, composer’s death, in1867 inVienna.Like theeven Symphony, more famous ‘Unfinished’ the didnotreceiveThe unfinishedquartet itspremière untilalmostforty years after the no truerecapitulation, justa‘reappearance’ oftheghostlyopeningmaterial. inner harmony. Genuinelysymphonic inspiration isinherent intheirdevelopment, butthere is theme andaccompaniment, followed by thelyricalsecond melodyinAbimbuedwithlightand the contrast between two themes,thedramatically stirringfirstthemeusingtremolo inboth Itisdefinedby cancertainly beseenastheturningpointinhisquartet-writing. ‘Quartettsatz’ wanted to ‘pave theway for amajorsymphony’ ofthe1820s,and inhisquartets Beethoven’s previous himselfrelated Indeed,Schubert quartets. to inaletter afriendthat he The music’s trulyromantic temperament isnotforeseen inanyofSchubert’s oreven p11 © ONYX, 2005 Manashir Iakubov translation ONYX, A.translation Vermolayeva . Cover photograph by Thomas Mueller. Design Thomas Mueller. by photograph . Cover [8] , Carl Fisher, New York York New , Carl Fisher, [6] by CEH. Album released with help from Joint Stock Company, Mosinturstroy. With thanks to Hans Meijer and Peter With thanks to Mosinturstroy. Company, Joint Stock with help from released CEH. Album by London. Management, Walsum Van Railton, Executive Producers: Chris Craker and Paul Moseley. Recorded by Kondrashin Classical Recordings. Produced by Olga by Produced Classical Recordings. Kondrashin by Recorded Moseley. and Paul Chris Craker Producers: Executive Russia. Moscow, Church, The Lutheran at Recorded Elena Sych. by Edited Kondrashin. Pyotr by Engineered Barabash. Wollenweber Walter Publishers: Verlag ALEXANDER BORODIN (1833-1887) ALEXANDER BORODIN alla spagnola Serenata quartet, called the ‘Name-Day’ composition is part of a collective serenade This Spanish-style used his Belayev music-lover, passionate (1836-1904). A Belayev written in honour of Mitrofan publishing house in Leipzig open a sheet-music concerts, symphonic organise to funds own a and found composition new for the annual Glinka prize create this day), exists to (which Liadov, 1886, Rimsky-Korsakov, In November ensemble composition. chamber for competition on a theme fiftieth birthday, Belayev’s a quartet for write decided to and Glazunov Borodin, up his name “Be-la-ef”. of which make A and F), the syllables (B flat, notes of three composed done in a single ‘was piece curious’ this ‘extremely that with satisfaction noted Borodin the same time and at witty, original, extremely well, It turned out very quickly. flourish, very with vivid is interlaced sultry oriental passion In the quartet miniature, melodious’. very smile. ironical and the faintest splashes of Spanish colour multitude of ‘A home. 1886 in Belayev’s November on 23 first performed The quartet was ‘which was Rimsky-Korsakov, recalled birthday’, Mitrofan’s celebrate to friends gathered and drinking... feasting Herculean by accompanied feast, the before performed the quartet was our surprise’. over raptures in absolute and the guest of honour was ONYX 4002 Booklet 7/4/05 12:17 am Page 11 Page am 12:17 7/4/05 Booklet 4002 ONYX p12 ONYX 4002Booklet7/4/0512:17amPage12 www.onyxclassics.com