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HINDEMITH Orchestral Works, Volume 1. • Werner Andreas Albert, conductor; Queensland Symphony Orchestra Brisbane. • cpo 999 004 [DDD]; 72:15. Produced by Stephen Snelleman. Amor und Psyche. Philharmonisches Konzert. Symphonic Metamorphoses on Themes by Carl Maria von Weber. HINDEMITH Orchestral Works, Volume 2. • Werner Andreas Albert, conductor; Queensland Symphony Orchestra Brisbane. • cpo 999 005 [DDD]; 62:13. Produced by Stephen Snelleman. Lustige Sinfonietta, op. 4. Rag Time. Symphonic Dances. HINDEMITH Orchestral Works, Volume 3. • Werner Andreas Albert, conductor; Melbourne Symphony Orchestra. • cpo 999 006 [DDD]; 63:55. Produced by Stephen Snelleman. Nusch-Nuschi Dances, op. 20. Concert Music for Strings and Bass, op. 50. Symphony (“The Harmony of the World“). HINDEMITH The Four Temperaments. Concerto for Piano and Orchestra. • Siegfried Mauser, piano; Werner Andreas Albert, conductor; Radio Symphony Orchestra. • cpo 999 078 [DDD]; 62:24. Produced by Hans Bernhard Bätzing. (Distributed by Koch International.)

The complete orchestral music of is an exciting and ambitious project: even the composer did not get to record it all. These first discs bring us three pieces long-absent from the catalog. One may not expect the two Australian orchestras to match the grandeur of the Philharmonic or the Philharmonia Orchestra in Hindemith's 1950s recordings, but surprises turn up on both continents. Volume one starts with Cupid and Psyche (as it is usually known), overture to an unwritten ballet. Competition comes from the finest of Hindemith's Berlin Philharmonic records, heard on Decca DL 9969; the monaural Deutsche Grammophon recording brilliantly captured the orchestra playing at its best, in an alert and sparkling performance. The Queenslanders cannot match the power and character of the Berlin Strings, and the important solo horn is not as consistently warm and clean. Noblissima Visone follows; the playing is first-rate, in a spirited performance which is a nice alternative to the highly pointed playing of the Atlanta Symphony for a great Telarc recording of a very slow performance. Hindemith's own fine recording with the Philharmonia Orchestra on an EMI disc is also quite slow. With the 1932 Philharmonic Concerto, Albert and his Australians come into their own. The composer's 1950 Telefunken recording with the Berlin Philharmonic caught everybody on an off day, and the Queensland Symphony players outdo themselves. This concerto for orchestra is a theme and variations; the third variation is for the brass section, with virtuosic solos for trombone, trumpet, and horn. All three players surpass their Berlin counterparts. As the cpo recording is vastly superior to the mediocre Telefunken, this becomes the preferred version of the work. The Symphonic Metamorphoses is a notoriously difficult piece to perform, beyond all but the best orchestras. The Queenslanders are amazingly successful with it; Albert keeps rhythms taut at conventional tempos, and the orchestral excellence implies many arduous rehearsals. But it still sounds difficult; only two recordings come to mind which give the (delightful) impression of tossing it off with ease: Bernstein and the New York Philharmonic on a Columbia LP, and Yoel Levi on the Telarc disc mentioned above. Note that a new Bernstein recording, with the Israel Philharmonic, is in preparation and may be available by the time you read this. The Comic Sinfonietta and Rag Time both appeared on a Wergo disc, with Gerd Albrecht leading the Berlin Radio Symphony. Both orchestras play well, and the interpretations are virtually interchangeable; the Wergo recording of the Sinfonietta is a bit smoother and more solid in the bass. But the major difference is that the Wergo disc includes dead-serious readings (in German) of six poems which inspired the piece, and they are hysterically funny; they are tracked separately, so one can ignore them once their initial frisson wears off. In Rag Time, the Wergo recording, from a different session, is thin and dry. But the cpo disc offers an irresistible bonus: the only modern recording of a major Hindemith work, the 1937 Symphonic Dances. The composer recorded it with the Berlin Philharmonic in the mid-50s, almost simultaneously with its only other previous recording, by Ferenc Fricsay and the RIAS Symphony Orchestra. The Fricsay was livelier than the Hindemith, but both were middling monaural recordings; the four dances suffer from complex, muddy orchestrations, so the modern digital stereo clarifies them and elevates the cpo disc to preferred status. The Australian performances are equal to Hindemith's own, but are not as frisky as the Fricsay. The third disc of orchestral music sees a change to the Melbourne Symphony Orchestra. The Nusch-Nuschi Dances are not played with the sparkle and color of the performances in Wergo's recording of the complete opera {Fanfare 12:4). The Concert Music for Brass and Strings reveals the fine sonorities of both sections, but tempos drag. Comparison with a Deutsche Grammophon 20th Century Classics disc shows the 1972 Boston Symphony to be more alert and exciting, superior in every way and at a faster tempo. The forthcoming Bernstein disc will also include this piece. To review two recordings of “The Harmony of the World“ Symphony in one issue is beyond even a Hindemith-lover's imagination; yet here they are. The Brisbane orchestra on the first two discs competed successfully with some fine European orchestras, and the Melbourne group does so here; they have a fuller, warmer string section, aided by a mellower recording. I praised the Dresden version with controlled enthusiasm; this performance has a zesty exuberance which lifts our spirits again and again. All sections of the Melbourne Symphony contribute to the glory, as does the gorgeous recording. The first two movements go at tempos nearly identical to those in Dresden. The enormous “Harmony of the Spheres“ finale is much broader in Melbourne, where the more- reverberant recording does obscure some detail; closely miked, hard-struck percussion make a sensational effect in the final measures of the Dresden performance. The fourth disc begins a different series, the Works for Piano and Orchestra. This is another strong entry in the Hindemith discography. In The Four Temperaments, pianist Siegfried Mauser and conductor Albert hew closely to the classic performance: Leon Fleisher with the Netherlands Chamber Orchestra under Szymon Goldberg, on an old Epic LP. Fleisher's elegance and careful articulation of every note are always fascinating, but Mauser makes the music flow more freely, and the fuller, smoother digital recording does wonders for the accompanying strings. In Fanfare 13:6, Paul Snook reviewed the first-ever recording of the 1945 piano concerto, giving a performance history and a fine description of the work. The larger body of strings in the Frankfurt orchestra brings out more of Hindemith's harmonic textures, and the orchestral playing is more secure in every section, but leaner textures and faster tempos contribute their own excitement in Louisville. Both pianists are on top of the score: Mauser makes it heavy and solid; Luvisi is freer and more mercurial. Viewed either as pure Hindemith or as a very-late- Romantic piano concerto with a few neo-Baroque touches, this German disc is clearly the preferred version; Luvisi is equal to Mauser as a pianist, but the differences in orchestral work swing the balance. As these are the concerto's only recordings, this cpo disc becomes required Hindemith. Both series will conclude with a similar issue, scheduled for release at the end of 1991: three more orchestral discs and one more with piano. I have never been to , and I don't think I have heard these orchestras on recordings before. I must apologize to all Aussies for my New York-centered bias: these discs have shown me that when we think of the finest orchestras worldwide, we must not forget these distant candidates. Volumes five and six will add still another, the Sydney Symphony Orchestra; I can't wait to hear them. Werner Andreas Albert showed us in the previous issue that he is a fine conductor with a taste for arcane repertoire; his Pfitzner symphonies were excellent, but the competition is much stronger with Hindemith. These are all fine readings, consistently challenging the great Hindemith recordings of the past, which include names like Furtwängler and Bernstein, as well as the composer's own sometimes outstanding productions. Each of these four discs contains at least one performance which makes it essential to any Hindemith collection. Taken as a whole, they should do much to fuel the current Hindemith revival; the composer has never been so well represented on recordings. James H. North

This article originally appeared in Issue 15:1 (Sept/Oct 1991) of Fanfare Magazine.

HINDEMITH Kammermusiken. • Riccardo Chailly, conductor; Royal Concertgebouw Orchestra 1-3-; Konstanty Kulka, violin 5; Kim Kashkashian, viola 6; Norbert Blume, viola d'amore 7; Lynn Harrell, cello 4; Ronald Bräutigam, piano 3; Leo van Doeselaar, organ 8; Paul Verhey, flute 2; Jan Spronk, oboe 2; Piet Honingh, clarinet 2; Julia Studebaker, horn 2; Brian Pollard, bassoon 2. • LONDON 433 816-2 [DDD]; two discs: 65:24, 72:44. Produced by Andrew Cornali. Kammermusik No. 1 for Twelve Solo Instruments, op. 24, no. V. Kleine Kammermusik for Flute, Oboe, Clarinet, Hom, and Bassoon, op. 24, no. 2Z. Kammermusik No. 2 for Obbligato Piano and Twelve Solo Instruments, op. 36, no. 13. Kammermusik No. 3 for Obbligato Cello and Ten Solo Instruments, op. 36, no. 2*. Kammermusik No. 4 for Violin and Large Chamber Orchestra, op. 36, no. 35. Kammermusik No. S for Viola and Large Chamber Orchestra, op. 36, no. 4e. Kammermusik No. 6 for Viola d'amore and Chamber Orchestra, op. 46, no. 17; Kammermusik No. 7 for Organ and Chamber Orchestra, op. 46, no. 2s.

Hindemith's seven Kammermusiken are often thought of as “Brandenburg Concertos“ of the twentieth century, and as the start of a neo-baroque period in Hindemith's music which equates to Stravinsky's neo-classicism. But they were written over a span of six years, and elements of the Baroque were always present to some extent in Hindemith's music. What the Kammermusiken do have in common is that they are all among his finest, most enjoyable works. His dense, contrapuntal writing can sound dryly intellectual in his string trios or quartets and can become congested, even pompous in full orchestral garb. His style works best in smaller ensembles having a variety of color: the sonatas for various instruments with piano, and all eight of these works, including the Kleine Kammermusik for wind quintet. In addition, they were all written at the height of Hindemith's youthful maturity, when he was bursting with musical wit as yet uninhibited by attention to matters of musical theory. These performances achieve all of Hindemith's sprightly wit without ever becoming hectic, as did some performances from two earlier recorded sets of the Kammermusiken. Although today's Concertgebouw performances can sometimes be lackadaisical compared to those of past eras, these scores must have been thoroughly rehearsed to be mastered so well; each instrumentalist is alert to every subtlety. The 1968 Telefunken recordings of these works were performed by a group called Concerto Amsterdam, most of whom were members of the Concertgebouw Orchestra, including three who appear in these new recordings; comparisons of several movements reveal that the older performances tend to bog down as a movement goes along. These new ones are far crisper to start with, and they maintain their spirit throughout; the difference must be attributed to the presence of a conductor, which Telefunken's ensemble lacked. Chailly maintains a vibrant light touch, and these players offer sweetness, warmth, and humor throughout all the counterpoint. There is never any feeling of struggle in their execution, yet they radiate the palpable energy which struggling performances often engender. The playing of the first Kammermusik, for twelve solo instruments, is marvelously alive and pointed; accompaniments to the cello concerto and the organ concerto come to life as never before in my experience. Among the soloists, only pianist Ronald Bräutigam fails to match the level of his accompaniment, but perhaps my expectations are unreasonable, as I have felt that way about every performance of the Kammermusik No. 2 which I have heard. Lynn Harrell's cello has more warmth than that of Anssi Karttunen or Luca Signorini on recently reviewed discs. Violinist Konstanty Kulka lacks the sweetness of tone and ferocious energy of Igor Oistrakh on a Melodiya LP, but he also avoids Oistrakh's overly Romantic phrasing and rough edges, Kim Kashkashian adds to her laurels as a Hindemithian, earned with her set of the complete viola sonatas. Although Hindemith gives the viola d'amore every chance—accompaniment is by winds, cellos, and basses only, and dynamics seldom reach/—that weak instrument seldom comes through clearly. It does here, and Norbert Blume produces much beauty of sound. The organ concerto was recorded in February 1990, before the other works, because the Concertgebouw organ was due for a complete overhaul and was to be dismantled later that year. A Concertgebouw pamphlet on the overhaul states that the organ was in almost unplayable condition, with several registers inoperable, but it sounds perfectly fine here. Leo van Doeselaar does a very convincing job with it; every note of the pedal lines is clearly heard, even in the complex fugal writing of the finale. The Kleine Kammermusik is played by the wind soloists of the orchestra: Paul Verhey, flute; Jan Spronk, oboe; Piet Honingh, clarinet; Brian Pollard, bassoon—a master now in his fortieth year with the Concertgebouw; and Julia Studebaker, horn. The performance is warm, gentle, and elegant, while capturing all of this music's virtuosity. The recordings are another glory of this set. Decca/London producers and engineers have always taken the full measure of the Great Hall of the Concertgebouw, from the first 1946 Berlioz sessions with van Beinum. They dashed in for four days in 1961, ripped the seats from the auditorium, set the orchestra in the audience's place, and produced two of the most glorious orchestral recordings of the stereo LP era: Solti's Mahler Fourth and Fistoulari's Swan Lake excerpts. Not everything in the 1980s went so well, but these 1990 recordings are back on target. Clarity, balance, and color are extraordinary; there is little depth or spaciousness, but these are chamber ensembles which don't need those qualities. There is a feeling of all players being equal, and even the sense of all players hearing each other which is true chamber-music making. The Kleine Kammermusik was recorded in the Kleine Zaal, the smaller, circular, chamber-music room behind the main hall. By chance I heard a different group play the same piece in that room a few months ago; this is just like being there, except that these players are superior. The accompanying booklet includes sensible analyses of each of the seven Kammermusiken, plus a complete listing of all performers for each piece, in a compact but easy-to-decipher tabular form. One slip is that no trumpeter is credited for No. 2, the piano concerto. This set jumps immediately to the top of my Want List; it should be on yours as well. James H. North

This article originally appeared in Issue 16:5 (May/June 1993) of Fanfare Magazine.

HINDEMITH Complete String Quartets. • The Danish Quartet (Tim Frederiksen and Arne Balk-Møller, violins; Gert-Inge Andersson, viola; Hendrik Brendstrup, cello). • cpo 999 287-2 [DDD]; three discs: 72:12, 57:45, 63:38. Produced by Lars S. Christensen1, Reinhold Brunotte2, and Werner Holke3. (Distributed by Naxos.) 1String Quartets: No. 2 in F Minor, op. 10; No. 4, op. 22; No. 7 in E♭ (1945). 2String Quartets: No. 3 in C, op. 16; No. 6 in E♭ (1943). 3String Quartets: No. 1 in C, op. 2; No. 5, op. 32.

Some years ago (Fanfare 15:3) cpo began a series of Hindemith string quartets by the Sonare Quartet; for whatever reason, no second disc ever appeared. More recently (19:4 and 20:2), Praga issued three discs by the Kocián Quartet which cover not only the canonical seven but two amusing early works for string quartet: Militärminimax and Overture to The Flying Dutchman. The Kocian's light performances were particularly appropriate for those parodies, but their versions of the dense middle quartets of the 1920s lacked the energy and sheer muscle demonstrated by the Juilliard Quartet on a Wergo disc containing op. 16 and op. 32. Note that cpo follows the more-than-thirty-year-old “new“ numbering of Hindemith's quartets, and that these three discs sell for the price of two. This new set is a mixed bag. The three discs were recorded by three different teams, in three cities, for three radio organizations. Disc 3 came first, in March 1995. The performance of the early op. 2 Quartet is dry and disconnected; intonation is suspect, and the players seem to be just touching the notes, with little sense of feeling or dynamics. Op. 32 goes better, but there are some uneasy moments in the Passacaglia. The recorded sound, by Deutschland Radio Berlin, is gray and mushy. Disc two was recorded by North German Radio in November 1995, and the sound is a noticeable improvement. In op. 16, the Danish Quartet's playing is tidier than the Juilliard's, but neatness doesn't count for much in this music. This performance bounces along, whereas the Juilliard drives relentlessly ahead. The 1943 Eb Quartet was written for the Budapest Quartet; the Danes give a reading of measured dignity that is most appropriate, adding a dose of fantasy for the third- movement variations. Their ensemble blend is more consistent than that of the Kocián or the Budapest, the latter admittedly heard through noisy 78s. Disc one, recorded by Danish Radio in April and July 1996, is finer still. The Danish Quartet plays with suave tone and maintains a cool ensemble sound, yet there is considerable spring to its rhythms. These qualities pay dividends in the op. 10 Quartet of 1918. Often called a transitional step between Hindemith's early, Romantic style and his harsher, avant-garde writing of the 1920s, this complex, not easily categorized piece emerges here as a strong, unified work. The long Finale is particularly successful in this performance, its many sections melding together convincingly. Op. 22, Hindemith's best-known quartet, goes well here. The composer was proud of its simplicity of construction and ease of performance; the Danes make a distinct virtue of that simplicity. Their silky elegance also suits the final Eb Quartet of 1945, a private, relaxed work. The recorded sound is lovely: transparent yet intimate. In short, these performances got better as they went along, suggesting that the quartet was learning Hindemith's music as they recorded it and only settled on their version of his style late in the game. This may not be the time to decide which Hindemith quartet CDs to buy; returns from his 1995 centennial continue to drift in, and the question of whether the Juilliard series will continue remains open. James H. North

This article originally appeared in Issue 20:6 (July/Aug 1997) of Fanfare Magazine.

Paul HINDEMITH (1895-1963) Complete String Quartets String Quartet No. 2 in F minor, op.10 (1918) [33:13] String Quartet No. 3 in C, op.16 (1920) [31:26] String Quartet No. 5, op.32 (1923) [30:17] String Quartet No. 6 in E flat (1943) [24:34] String Quartet No. 7 in E flat (1944-1945) [16:22] String Quartet No. 1 in C Major, Op. 2 (1914-1915) [41:25] String Quartet No. 4, Op. 22 (1921) [25:58] Amar Quartet (Anna Brunner (violin), Igor Keller (violin), Hannes Bärtschi (viola), Péter Somodari (cello)) rec. Grosser Saal, Radiostudio Swiss Radio, Zurich, Switzerland, February 2009 (Nos. 3, 6, 7), December 2009 (Nos. 1, 4), April 2010 (Nos. 2, 5). DDD Originally released separately as 8.572163-65 NAXOS 8.503290 [64:39 + 71:13 + 67:23]

The seven string quartets of Paul Hindemith can hardly be described as mainstream, both in recordings and live concerts. That is despite them being one of the most significant bodies of work in the genre of the twentieth century. Yes, they may not be up there with the Shostakovich and Bartók, but they are not far behind. They were composed in three stages, the first during Hindemith’s time as a student, numbers two to five during the 1910s and 1920s. In that period he also wrote some fine chamber works for the violin, viola and cello, linked to his own performing career. Numbers six and seven were composed during his productive period for chamber music known as “Sonatenwerk”, when he wrote sonatas for all the recognised standard instruments of the orchestra.

This is my third recording of the complete string quartets, although my first encounter with these varied and gripping works by the Kocian Quartet on Praga Digital (PRD 350113/14) cannot really be considered complete. It was recorded before the opus 2 quartet was rediscovered and only presents numbers 2 to 7. On a separate disc (PRD 350036) they do, however, provide convincing performances of Hindemith’s two other parody works for string quartet, the humorous Overture to the Flying Dutchman as Played at Sight by a Second-rate Concert Orchestra at the Village Well at 7 O’clock in the Morning and the Minimax (Militärminimax): Repertoire for Military Orchestra. They are both worth hearing, but have received far less attention that the numbered quartets. My other set is the excellent recording by the Danish Quartet on CPO (999 287-2), who along with the Kocian Quartet tend to offer swifter tempos than the “new” Amar Quartet.

The String Quartet No. 1 in C Major, Op. 2 was completed in 1915 whilst Hindemith was still a student at the Hoch’sche Konservatorium in Frankfurt. Despite that, it shows great maturity and expertise. This probably came from the fact that he had to play in various theatre ensembles to support himself through college. Indeed at the time of composition he was deputy leader of the Frankfurt Opera Orchestra, becoming its leader in 1917. He also performed as second violin in the Rebner String quartet. That gave him insight into quartet form and practice, and undoubtedly aided in the composition of this, his first quartet. The quartet harks back to the romantic tradition of quartet writing. It only shows glimpses of Hindemith’s more distinctive and mature styles. It was lost until the early 1990s and only published in 1994. It is sometimes regarded as his No. 0.

The String Quartet No. 2 in F minor, op.10 from 1918 was composed whilst Hindemith served on the western front. Despite that, the work shows very little of the angst or horrors Hindemith must have experienced on the front line. This is something of a transitional work. His experiences on the front and in a military band helped him to develop his more personal musical voice. Like all his music, it is based on tonal structure, but is leaps and bounds ahead of his Op. 2. Its central movement Thema mit Variationen shows just how far the composer had moved on since his student days. Its complex harmonies lead to a more complex and technical structure.

Probably the most important of his string quartets is the op. 16 No.3 in C. It was composed in 1920 and gave Hindemith his first real success when it was performed the following year at the first Donaueschingen Chamber Music Days. It was this work that announced him to the world. Possibly even more important was the fact that to save the premiere Hindemith himself played the viola part with a group of musicians which in 1922 would become the original Amar Quartet, after whom the present quartet take their name. Of all his earlier quartets, this is the one that points the way—from the romanticism of the First, through the expressionism of the Second, to the complex contrapuntalism of his subsequent works—and that he would be most remembered for.

The most popular of his quartets, the String Quartet No. 4, Op. 22, composed in 1921, is the only one of his quartets to achieve a regular airing. The work is in the form of a suite that opens with a slow Fugato which leads into a more agitated and expressive section. Here the present Amar Quartet come into their own, with their slower tempo, nearly a minute over their rivals, bringing out every nuance of this music, with the heavy bowed cords of the second movement also being in stronger contrast. The melancholic third movement is described in the booklet notes as “one of the most beautiful movements which Hindemith ever wrote.” The final two movements actually form a single movement, with the Mäßig schnelle Viertel leading straight into the final Rondo.

The second stage of Hindemith’s quartet writing comes to an end with his String Quartet No. 5, Op.32 of 1923, the same year when Minimax was composed. This quartet is the culmination of Hindemith’s goal for clarity of structure in his music, something he carried over into his String Trio of the following year. In this quartet he returns to a four movement format for the first time since the first quartet, although the Danish Quartet in their recording have the third movement Kliner Marsch and the final Passacaglia banded together as a single movement. The work opens with a pulsating double fugue Lebhafte Halbe before moving on, once again, to a more melancholic slow movement. The Kliner Marsch is, as the name suggests, very brief, whilst the Passacaglia leads in to a series of 28 variations based upon the fugal theme of the first movement.

There were some twenty years between the fifth and sixth quartets, in which time a lot had happened. Hindemith had been denounced by Joseph Goebbels as being an “atonal noisemaker”, his music was included in the Nazi exhibition of Entartete or degenerate music and he emigrated to Switzerland in 1938, partly due to his wife’s Jewish ancestry, from where he emigrated to the USA in 1940. It was in light of these developments that Hindemith composed his String Quartet No. 6 in E flat in 1943 for the Budapest String Quartet. An example of his mature style, here the music is more intimate. The opening Sehr ruhig und ausdrucksvoll is unlike the opening of any of his other quartets, one which is not slow, very quiet and expressive, but one in which he clearly lays out his new musical language, one in which “He now works out freely the harmonic and tonal relationships, rigorously organized; at the centre of the tonal relationships in the fundamental note E flat, and the harmony becomes considerably more relaxed.”

It was the Budapest String Quartet who were to give the full premiere of his String Quartet No. 7 in E flat two years later in 1946. The first three movements have had a private performance by a quartet that included the composer on viola, his wife Gertrude on cello and two of his students on violins. The quartet follows the same musical thinking as No. 6, although this is shortest of his quartets, lasting around sixteen minute. Like its predecessor, it is cast in four movements. Although the work is based on strict contrapuntal ideas, it has a lighter and less complicated feel than some of the other quartets.

I found the performance of the Amar Quartet first rate; they certainly live up to the reputation of their namesakes. They manage to bring out the best in this wonderful music. Yes they are the slowest overall, but this is not a bad thing. It gives them time to give voice to every little phrase and section of the music. Yes, I will always like the Kocian Quartet’s playing, but it now sounds a little dated. The excellent Danish Quartet hold their own in comparison to this new set, but for me it is the Amar Quartet, with their greater sense of clarity, which will now be my go- to recording. This is the recording that Hindemith’s string quartets have waited for and deserved. They have an ability to excite, charm and entertain. It is the characteristics that the Amar Quartet manage to effortlessly bring out. It proves that there is a lot more than counterpoint to this composer’s music. This is a recording which should bring new admirers to Paul Hindemith and his music. I only wish that the Amar Quartet are given chance to record the other works for string quartet, the Minimax and the Overture to the Flying Dutchman. On their own this would make a short disc, thirty minutes or so, but there are plenty of fine chamber works that could be included with them, for example the Eight Pieces for 2 violins, viola, cello and double-bass, which I think have not been recorded yet, or even the songs with string quartet.

Stuart Sillitoe