Fine Arts Quartet Plays Saint-Saëns

Key Releases | April 2011

SAINT-SAËNS: String Quartets Nos 1 & 2 Fine Arts Quartet

The Fine Arts Quartet’s albums of Mendelssohn’s String Quintets (8.570488) and Glazunov’s chamber music (8.570256) were named “Recordings of the Year” by Musicweb International, and their recording of Schumann’s string quartets ( 8.570151) was hailed by the American Record Guide as “one of the very finest chamber music recordings of the year”. On this disc the acclaimed Fine Arts Quartet performs Camille Saint-Saëns’s two magnificent string quartets. “Saint- Saëns has been unfairly tarnished as being a lightweight composer,” notes first violinist Ralph Evans. “Listening to these serious, intellectual, brilliantly crafted yet delightful works will change minds in a hurry.”

Booklet notes in English Catalogue No: 8.572454 Total Playing Time: 62:48

Listen on www.naxos.com

“I’m happy we undertook the challenge, since these wonderful, unjustly neglected works deserve so much to be heard.” - Ralph Evans

About the Fine Arts Quartet The Fine Arts Quartet is one of the most distinguished ensembles in chamber music today, with an illustrious history of performing success and an extensive recording legacy. Founded in Chicago in 1946, and based at the University of Wisconsin-Milwaukee since 1963, the Quartet is one of the elite few to have recorded and toured internationally for over half a century. Three of the Quartet’s current artists (Evans, Boico, Laufer), have been performing together for nearly 30 years. Each season the Quartet tours worldwide, with concerts in such musical centres as New York, London, Paris, Berlin, Rome, Madrid, Moscow, Tokyo, Beijing, Istanbul, Jerusalem, Mexico City, and Toronto. The Quartet has recorded over 200 works, 80 of them with Evans, Boico, and Laufer. The latest releases include: three Beethoven String Quintets, the Franck Quartet and Piano Quintet; the Fauré Piano Quintets; the complete Bruckner chamber music; complete Schumann Quartets; complete Mendelssohn String Quintets; complete early Beethoven Quartets; complete Dohnányi Quartets and Piano Quintets; American quartets by Antheil, Herrmann, Glass, Evans; and chamber music by Glazunov. The Fauré CD with pianist Cristina Ortiz was singled out in the 2011 Gramophone Classical Music Guide as a “Gramophone award-winner” and “recording of legendary status”.

Fine Arts Quartet Talks to Jeremy Siepmann Ralph Evans

ong among the most admired of chamber groups, the Fine Arts People are attuned to action, colour, movement, variety; there’s just more LQuartet, though domiciled as quartet-in-residence at the University to see, more to take in. The larger forms are easier to grasp and offer of Wisconsin-Milwaukee, is familiar all over the world. Renowned more to please the eye than say, the sight of four people sawing away at alike for its homogeneous ensemble and what might be described as its their instruments. The string quartet, on the other hand, requires more corporate individuality, its identity, for many aficionados, is regularly concentrated listening. One needs experience and sensitivity to be able revealed before the players reach Bar 2. Its unique sonority, indeed to enjoy, understand, and appreciate it.’ its prevailing character, derives in no small part from the vision, and passion, of its first violinist, Ralph Evans. Now nearly in his 30th year Is it, to borrow a phrase from Schumann, a ‘republic of equals’? If in that capacity, he is a musician, and a conversationalist, without pat not, how not? To what extent, if any, is the ‘leader’, or to use a less answers. contentious term, the first violinist, a kind of undercover conductor? ‘During rehearsals, yes, there is democracy in the string quartet, because I asked him if he could explain the centrality of the string quartet, regarded players can discuss ideas without being captive to the interpretations for two centuries and more as the very pinnacle of musical thought, the of an outside conductor. Still, in performance, there needs to be an most exalted vehicle for spiritual/emotional expression. ‘Oh, that’s not ensemble leader who guides the basic interpretation, tempo, style, tone so easy! Perhaps one could argue that there’s something unique about colour and so on. That leader isn’t always the first violinist. In fact, the the unity of texture created by the sound of four string players playing “conductor” at any given moment within a score is the player within the together. But then, one also gets such unity with a string trio, so that ensemble to whom the composer has given the main melody. It stands can’t be the answer. Or maybe it’s the idea of quartet democracy; but that to reason that the accompaniment can’t lead the way! That said, the couldn’t be the explanation either, because there’s democracy in other first violinist is normally considered the leader and takes on the role of chamber ensemble forms too. Perhaps it’s the intimate, confessional “undercover conductor” simply because in most of the quartets written nature of the string quartet which makes it more conducive to spiritual in the last 250 years, it’s the first violin part which tends to get the lion’s and emotional content. But here again, one finds examples of similar share of leading melodic lines.’ content in larger ensemble forms. My theory is different: I believe the greatest classical masters of the late 18th century and early 19th What, I asked, are the signature characteristics of the Fine Arts Quartet? century (namely Haydn, Mozart and Beethoven) created a precedent, Do they all subscribe to a predominating expressive/intellectual (let’s an incredible, sophisticated model of the highest standard, that, even to stretch the point and add philosophical) ethos? ‘I wouldn’t say we’ve this day, is rarely equaled in beauty, profundity, and emotional content. collectively decided on a specific philosophical ethos. However, I have Because the late quartets of Haydn, Mozart, and Beethoven were works my own obsessions and aesthetic philosophy. One of them is beauty of such genius, they created a challenge for succeeding composers in of tone. I strongly believe that every note must be expressively played all styles. If that great triumverate hadn’t been around, I’m not sure the and I admit to having been greatly influenced by the “Golden Age” string quartet would have developed the reputation that it has today.’ master string players of the first half of the 20th century like Heifetz, Kreisler, Thibaud, Szigeti, Elman, Feuermann, Primrose. Each of these Is it, I wondered, essentially a connoisseur’s medium? ‘I’d agree that great artists displayed a gorgeous, expressive tone and a diversity of string quartet music tends to appeal to those with more sophisticated colours and styles. There are wonderful modern players, to be sure, but or developed taste, especially nowadays. One possible reason is the it seems to me, none have achieved the lofty plane of expression achieved evolution of technology, which has influenced people to become more by these masters. In my childhood, I completely immersed myself in and more visual, through television, film, computers, and other kinds of those artists’ style, and it never suited to me to play in so-called modern visual media. The public has become less practised in listening than it style just because the older style became vilified by some 20th century used to be. In the classical music world, opera has, if anything, actually musicologists and critics. The Fine Arts Quartet may be unique these increased in popularity because so much more spectacle is involved. days, because, for better or for worse, we play in a style that reflects

the “old-fashioned” style. I personally use the technique of portamento in the second quartet’s last movement, he took the pitches of the four [‘sliding’ from one note to the next], when appropriate, as an expressive violin strings, E-A-D-G, and made a very complex, playful work based device, and I’m a great believer in the use of vibrato on every note. The on those four notes. I admit these works can be difficult to understand idea of a beautiful cantilena, as performed by Fritz Kreisler, represents, and they may take repeated hearings to fully appreciate them. But that’s for me, the pinnacle of tonal beauty and an aesthetic ideal I constantly where recordings can be so valuable. Since these works are so rarely strive for. Rubato, which we use quite liberally, is another important performed, we can thank Naxos for permitting us to record them.’ expressive technique that current performers, I think, employ too sparingly. The use of such Golden Age stylistic attributes doesn’t apply, The Fine Arts Quartet is by now a well-established part of the Naxos of course, in all kinds of music, but the espressivo style works well for the family. Which of your recordings so far have you most enjoyed? ‘I Fine Arts Quartet in the traditional music we tend to play.’ think for me the most fun has been recording an album which Naxos will release early next year. It was a project very dear to my heart: a The string quartet, certainly the Classical string quartet, is first and program of quartets by violinist-composers of the Golden Age: Kreisler, foremost a player’s medium. It was a long time before audiences, let Zimbalist - and Ysaÿe, who wrote a gorgeous piece that few music lovers alone concert halls, became a significant factor. Does playing in a very know about: a previously long-lost work for string quartet and string large hall pose problems for the quartet? ‘Bigger halls can indeed be orchestra. The marvelous Zimbalist Quartet, in its 1959 revised version, problematic, psychologically. There’s a temptation, often, to play with has never been recorded before and came to my attention thanks to more sound and to be less observant of dynamic contrasts, because the kind efforts of the distinguished violinist/author Roy Malan, who one is worried about reaching the public in the back of the hall. The wrote a enchanting biography of Zimbalist. Each of the three works on challenge in all halls is to maintain the style and manner of playing one this album is beautiful in its own way, containing the most charming aspires to in ideal acoustical circumstances.’ melodies and delicious harmonies – exotic harmonies, in the case of Ysaÿe. But for me, it was a special pleasure to be able to play these works When performers move from the concert hall to the recording studio in that Golden Age style we’ve just been talking about. Finally, here, they have the unique modern-age capacity to bring listeners as we had an excuse to really let go! I mean, if you can’t play Kreisler’s close as they’ll ever come to a player’s perspective. Do the Fine Arts music, for example, in the style of Kreisler, I don’t know when you can! Quartet modify their interpretations and performing approaches We’ve really been fortunate to make a huge number of recordings, most accordingly? ‘Digital microphones these days are extremely sensitive, so recently for Naxos. I’m very grateful to Mr. Heymann for engaging us to interpretations do have to be modified somewhat. When hearing oneself record such a diversity of works, whether famous or neglected. in playback, it’s remarkable how tiny noises - ones that one would never normally consider important - become distracting. For that reason, And what’s in the pipeline now? ‘Next to be released will be a disc we there’s a tendency to want to play more delicately. But there are other recorded with the exciting Chinese pianist Xiayin Wang, consisting of considerations too; for example, one has to be more conscious of one’s three great masterpieces by Schumann: the Piano Quintet, the Piano technical accuracy because there isn’t always time for repeated takes. Quartet and Fairy Tales. Future projects include more of my beloved Therefore, some of the interpretations turn out to be a little bit more Saint-Saëns: the Piano Quintet and the two Piano Quartets, which, like conservative. It could be risky to phrase spontaneously. What if a spur- the string quartets, deserve to be better known. We also plan to record of-the moment phrasing decision creates poor ensemble? What might some works by Josef Suk, and the American composer, Amy Beach - a be a magical moment in the concert hall could turn out to be a time worthy late romanticist, who is being performed a bit more in recent waster in the studio. I regret the interpretive conservatism that results decades, but for a long time was largely forgotten.’ occasionally, but it’s not a big problem. Speaking personally, I’m a risk taker by nature – so I don’t completely shut off, even in the studio. With technology and changes in musical demographics transforming Recording can be inhibiting, but we’re all very experienced at it and we musical life in the 21st-century, I wondered how Evans feels about the do try to play with as much freedom as we can.’ future of classical music in general and the string quartet in particular. ‘I can’t say I’m optimistic that classical music will increase greatly in Unlike Haydn, Mozart and Beethoven, Saint-Saëns wrote his quartets popularity, partly because music education for young children, sadly, for the concert hall as well as the players, creating to some extent has diminished so dramatically, in Western countries, at least. That a different perspective. How did they fare in the studio? Were they education introduced many young people to the joys of classical music fun to record? ‘Most definitely. I love the music of Saint-Saëns, who is and to the pleasures of playing an instrument. Early exposure makes terribly underrated and considered by many, unfairly, to be a lightweight classical music a part of people’s lives. Still, I think there will always be an composer. Unfortunately, because his music is extremely difficult to audience for classical music in general, and to a smaller degree, chamber play, it is often poorly played. Though he lived into the 20th Century, music, which takes more experience and knowledge to appreciate. But he’s really a classical composer who writes in romantic style. To play his classical music will never go away. And thanks to Naxos, even obscure music properly, there has to be a great clarity, accuracy, and supreme classical works are getting a chance to be heard.’ elegance, too. Making that come off is no easy feat, but I’m so happy we undertook the challenge, since these wonderful, unjustly neglected We may be in the midst of some kind of large-scale cultural transition, works deserve so much to be heard. The slow movements, in particular, but as long as the Fine Arts Quartet and the best of their colleagues are are profound, true masterpieces, while the other movements display out there playing, it’s much too early for despair. Much too early. great charm, sophistication, and beautiful craftsmanship. Saint-Saëns was really a master of melody, harmony, and counterpoint, all combined Ralph Evans is the first violinist of the Fine Arts Quartet. in a very inventive, classical way. His first quartet was written in 1899, and the second, in 1918, when he was 83. But neither sound like the Jeremy Siepmann is an internationally acclaimed writer, musician, teacher, work of an old man. They are endlessly fascinating to me. For example, broadcaster and editor.

More recordings by the Fine Arts Quartet:

8.572221 8.570788 8.570938 UPC: 747313222179 UPC: 0747313078875 UPC: 747313093878 BEETHOVEN String Quintets Opp 29 & 104 BRUCKNER String Quintet, String Quartet FAURÉ Piano Quintets with Gil Sharon, viola with Gil Sharon, viola with Cristina Ortiz, piano “The Fine Arts Quartet play “The Fine Arts Quartet (plus the just as “Simply the best: An unrivalled version, a beautifully. these performances talented Mr Sharon) is splendid cornerstone of the catalogue. A real gem!” present a beguiling portrait” in ensemble... clean as a whistle, smooth as - Gramophone - Gramophone cream, split-second accurate in execution” - American Record Guide

8.572009 8.570256 8.570488 UPC: 747313200979 UPC: 0747313025671 UPC: 0747313048878 FRANCK String Quartet, Piano Quintet GLAZUNOV 5 Novelettes, String Quintet Op 39 MENDELSSOHN String Quintets Nos 1 & 2 with Cristina Ortiz, piano with Nathaniel Rosen, cello with Danilo Rossi, viola “Ortiz and her colleagues realise all of “Each movement underlines just how adept “The best of Mendelssohn can be found in the Franck’s pent-up feeling in a performance the Fine Arts players are at contrasting chamber music, and these vibrant, brilliantly of a special musical refinement and moods, both between and within sections. played performances bring further confirmation commitment. I shall look forward to more It is all profoundly rewarding” of the rewards this repertoire can bring.” exceptional music-making from this team” - The Strad - MusicWeb International - Gramophone

8.570151 8.559354 UPC: 0747313015177 UPC: 0636943935422 SCHUMANN String Quartets Nos 1-3 GLASS • HERRMANN • ANTHEIL • EVANS Four American Quartets “Edge-of-the-seat playing marked by probing insights. In short, this is desert island stuff” “For over 65 years, the Fine Arts Quartet has - Fanfare set standards of style and repertoire that have rarely been equalled” - BBC Music Magazine