(1833-97) Clarinet Quintet in B minor, Op.115 1 Allegro (11:27) 2 Adagio (10:23) 3 Andantino - Presto non assai, ma con sentimento (4:24) 4 Con moto (8:25)

WOLFGANG AMADEUS MOZART (1756-91) Quintet movement in B flat major, K.516 (K. Anh.91) (completed by Duncan Druce) 5 Allegro (8.26) Lesley Schatzberger clarinets ALEXANDER GLAZUNOV (1865-1936) Brahms clarinet in A (R Tutz after G Ottensteiner) 6 Rêverie Orientale, Op.14 No.2 (6:54) Mozart clarinet in B flat (E J Albert with B Ackerman basset extension) Glazunov clarinet in B flat (full Boehm with Pupeschi system, E J Albert) WILLIAM SWEENEY (b.1950) Sweeney clarinet in A (E J Albert with B Ackerman basset extension) 7 An Òg-Mhadainn (11:45) Fitzwilliam Recorded at the National Centre for Early Music, 15th, 16th, 19th and 20th May 2005 Lucy Russell violin (Francesco Ruggieri, Cremona, 1698) Produced by Philip Hobbs Jonathan Sparey violin (Andrea Amati, Cremona, 1570) Edited, mixed and mastered by Julia Thomas at Finesplice, UK Alan George viola (Roger Hansell, Ulshaw, NorthYorkshire, 1994 (after PTestore, Milan, 1764) Cover photography and design by John Haxby Andrew Skidmore cello (Helen Michetschlaeger, Manchester, 1997)

2 3 Introduction Johannes Brahms, Clarinet Quintet in B minor, Op.115

On a bright November weekend in 1993 I travelled to Innsbruck to spend a few Is yet another disc of the Brahms Clarinet Quintet really needed? This was a question days with Rudolph Tutz, whom I had commissioned to make a copy of the A clarinet we had already asked of ourselves before embarking on our previous offering (with played by Richard Mühlfeld, the clarinettist who inspired Brahms to write his Clarinet Alan Hacker, Decca, 1982), and we found three specific answers to justify going ahead Quintet. Tutz had asked me to spend a little time with him in order to “fine-tune” the at that time: firstly, the musical public – especially connoisseurs of wind playing – are instrument before it left the maker’s workshop. Full of excitement about the first surely entitled to an aural documentation of how the finest players have interpreted notes I would be playing on this special instrument, what I actually found on arrival the great works of their respective repertoires; secondly, we had cut our own was the boxwood body of the instrument, bare of any of its brass keywork, and recording teeth on works which would have been unfamiliar or even unavailable not yet stained or varnished. But the transformation over the next three days (and on LP in the 1970s (quartets by Franck, Delius, Sibelius, Borodin No.1, most of the nights!) was fascinating to watch, and I very much felt the assistant and “midwife” in Shostakovich canon) and therefore felt we might have earned the right to venture into the proceedings. When the taxi arrived to take me back to the airport, Tutz was still more familiar territory. But, finally, our attitude to this particular work – under Alan working, and I barely caught the flight home. Hacker’s influence – had always involved the skipping of the most recent generations of performing tradition: Alan himself had been a pupil of , thus continuing The original from which my instrument is copied was made for Mühlfeld in the 1870s the line back via Haydn and Charles Draper to Richard Mühlfeld. Kell’s own recording by the Munich maker Georg Ottensteiner, and it survives, with its B flat partner, in with the Busch Quartet was surely one of the finest, and perhaps most idiomatic, ever the Staatliche Museen in Meiningen. The unique fingering system was devised by Carl made; so when studying their old 78s back in 1974, together with other recordings of Bärmann, the son of Carl Maria von Weber’s inspirational clarinettist Heinrich Bärmann. that era and earlier (for example Charles Draper and the Léner Quartet), we were It was Mühlfeld’s playing of a concerto by Weber which had stunned Brahms by its struck by how far most performances had since moved away from their approach: eloquence and beauty in 1891. A firm friendship was formed, and Brahms nicknamed what had happened to the fire, the passion, the wildness, the sheer extremes of Mühlfeld Fräulein Klarinette, meine Primadonna and the nightingale of the orchestra. expression one hears in those renditions? Brahms may well have become old and Mühlfeld remained faithful to his Ottensteiner instruments to the end of his life in tired, he may well have been so disillusioned and world-weary as to have resolved 1907, despite the fact that the more technically advanced Oehler clarinets, made in to give up composing after the G major string quintet (Op.111) in 1890. But if his heavier ebony wood, were becoming prevalent in and by then. With juices were so capable of being stirred, roused, and ignited into action by the playing its straighter bore and lighter wood, the instrument has a less boomy and more of a young clarinettist (Mühlfeld) then maybe the energetic youth trapped inside this focussed quality than later clarinets, with more potential for delicacy and varied supposedly ageing man (he was actually only 57!) was still not ready to admit to having colours – well worth the challenges the slightly idiosyncratic fingering system imposes arrived at that “Autumnal” stage of life, which so many modern performances of his on the modern player! later chamber works seem to find enshrined therein. The expressive energy which Lesley Schatzberger, July 2006 Mühlfeld must have communicated via Weber’s music at Meiningen would appear

4 5 to have struck a chord with Brahms who, no doubt further inspired by the highly in impassioned and lyrical melodies. And secondly, players of Brahms’s time would all dramatised frenzy of the Fantasia in the same composer’s Clarinet Quintet (Op.34), have used portamento, the gliding ornament so tellingly described by Carl Flesch as ‘the subsequently provided more phantasmagorisms for Mühlfeld’s virtuosity in the Adagio emotional connexion of two notes’”. of his own quintet – with the Trio (Op.114) and the two Sonatas with piano (Op.120) Most important of all, perhaps, is a prerequisite embracing of Brahms’s attitude to in close attendance. He wrote to his beloved Clara Schumann, “To hear the clarinettist rhythm, tempo, and rubato, and it is fascinating that many of Professor Pascall’s would be an experience for you, a gaudium. You would be enraptured, and I hope my observations originate in accounts from contemporary musicians reporting on his own music would not spoil the effect for you.” playing or conducting. For example, we learn that Sir Charles Villiers Stanford recalls But back to the present, and that same dilemma of conscience: is another recording that Brahms’s tempo was “very elastic”, the pianist Fanny Davies writes of his “expansive of this quintet really justifiable? If those original answers were valid then, it has to be elasticity” – confirming awareness that “he used strong articulations between phrases, conceded that they are still valid now – but with extra dimensions: to begin with, the tempo modification and rubato – tempo modification was a recognised and established teacher-pupil lineage continues from Alan Hacker to Lesley Schatzberger and with it part of performance practice of the age, and that, provided always it is applied with follows a similar school of performance. But in the meantime Lesley had had a copy discretion, it remains fully appropriate to the interpretation of Brahms’s music”. Indeed, made of Mühlfeld’s own clarinet (see note above), and from her experience of this it had been so for some time previously, to judge by similar remarks made on the wonderful instrument we can learn still more about the piece and how it might have subject by Beethoven, Liszt, and Wagner, all of which lend weight to the argument. sounded. When playing with this instrument it is obviously appropriate for the quartet Brahms himself wrote to the violinist in January 1886, “…I often cannot to make use of contemporary style bows and gut strings – as Robert Pascall underlines: do enough pushing forward and holding back, so that passionate or calm expression “the difference in tone-quality between gut and metal strings is far from small, [even is produced more or less as I want it” – alluding also to the conductor Hans Richter’s though] this may seem a small matter of instrument setting-up”. Hand-in-hand with “uncomprehending stiffness”. Eugenie Schumann (youngest daughter of Robert and this is the need to adhere to certain aspects of performance practice which we know Clara) recounts that “When he came to passionate parts, it was as though a tempest to have been in favour at that time and in that place. So we have sought the advice of were tossing clouds, scattering them in magnificent fury” – we could hardly fail to such authoritative Brahms scholars as Professor Pascall himself: his various papers and remember this striking illusion when approaching the surging semiquaver triplets in the publications have provided invaluable insight, as well as reassuring evidence that for first movement exposition, extended still more vehemently in the recapitulation (“…to most of our own thirty-plus years of acquaintance with this amazing work we have be taken at a distinctly increased tempo” – Will Crutchfield). Of specific significance is been on something like the right track – thanks to Hacker, Schatzberger, Kell, Busch et a remark by Brahms’s pupil Walter Blume concerning the third symphony’s finale: “The al. We are reminded that “bow strokes were much as now, although the art of portato semiquaver figures in the strings at [letter] O are played so that one dwells somewhat bowing has been largely lost, and the use of off-string bowing was not as favoured then on the first semiquaver, quasi tenuto” – these groups are all marked with a “hairpin” as it is today. The normal way of playing… until the present [20th] century was without decrescendo, exactly the same as the semiquaver groups in the opening bars of the … used primarily as an ornament, for accented notes, and for sustained notes quintet, where a similar expressive rubato has always seemed to us to be obligatory.

6 7 It has since been rewarding to be able to hear (at last) the recording made in 1941 by predecessors’ example – that its “gypsy clarinet and fiddle” must be the centrepiece our mentor Sidney Griller, in which his quartet was joined by Frederick Thurston – in of the entire work, forthrightly setting the tone of the whole interpretation, “with the many ways even finer than Kell/Busch, but underlining yet again how far perceptions other strings imitating the clangorous cimbalom” (the origin of Brahms’s writing of of the quintet have changed since those days. No less invaluable are Tully Potter’s long notes with fast elaboration is identified by Pascall in the slow lassu sections in own observations (in the accompanying notes) with regard to the handed-down the Verbunkos). Nothing cosy or “Autumnal” here… Certainly we can recognise the performing traditions for the quintet – not only via Kell/Drapers but also from Adolf spirit of Weber and his powerful effect on the course of German Romanticism, but Busch back to his teacher Bram Elderling who, as leader of the Meiningen Quartet, had now unforgettably and unmistakably supplemented by Brahms’s own long-standing performed it frequently with Mühlfeld himself. In all these accounts we can hear clear affinity with Zigeuner culture – no doubt underpinned by his friendship with the great evidence for Pascall’s painstaking researches. Hungarian violinist Joachim. And so the stormier passages in the first movement, not to mention the high voltage of the finale’s second variation, can rightfully take their It goes without saying that none of these factors will in themselves guarantee a place in the overall scheme of things; indeed, these variations reveal themselves as a st successful or convincing performance, and it has to be accepted that to 21 century worthy summation of the quintet’s various moods and temperaments, such that we ears the enclosed realisation may not be to all tastes, given the changing style of find the yearning B major sonorities of no.4 already to have been heard in the Adagio’s execution this piece has undergone over the past few decades. Undoubtedly what you outer sections. Even the whimsical skittishness of variation 3 seems to look back to will hear is more confrontational, red-blooded, wilder, at times angrier, less “mellow” the preceding movement, where B minor is subtly combined with its relative major than might have been expected, with generally faster tempi and more extreme key in a fusion of genuine scherzo with the gentler, more pastoral replacement familiar dynamic contrasts. Not always comfortable listening, to be sure… But, as Robert from so many of his symphonies and chamber works. I’m grateful to Geoffrey Keating Pascall concludes, “knowledge about historically appropriate performance styles does for pointing out that the theme itself bears a remarkable likeness to the descending not restrict so much as nourish interpretation”. sequence of notes, derived from the letters of his wife Clara’s name, which Schumann used so frequently as a private musical greeting to her (most notably in the Fantasia in Much has been written about the impressively tight structure and thematic unity of C, Op.17). Since virtually all the main material of the clarinet quintet is so closely inter- this quintet, originating in Brahms’s painstaking studies of Renaissance, Baroque, and related, would it be too far fetched to suggest that the work might even represent a Classical forms (for example canon, fugue, and a wide range of dance idioms), together secret expression of longing for Clara…? with the music of those composers he included in his own concert programmes as a pianist: Bach, Mozart, Haydn, Beethoven, Schubert, Chopin, Schumann. So, whilst further Furthermore – to return to the Adagio – Robert Pascall has convincingly traced the analysis might be considered superfluous here, some thoughts on the Adagio could origins of the outer sections of this movement back to the Sarabande und Gavotte be appropriate, in the light of that movement’s profound influence on the work as a for piano from 1854/5 – thereby demonstrating that, even in the most elegiac music whole, allied to the demands it makes and the precedents it sets for an attempt at an of the quintet the element of dance is never far away (following the example of his “authentic” realisation in concert/recording. Alan Hacker always insisted – following his great German predecessor J S Bach). Whilst the Sarabande’s journey to this Adagio

8 9 was undertaken via the F major string quintet (Op.88) the Gavotte can be seen to that the surviving manuscript breaks off suddenly, at the bottom of a page, after just have pursued a similar course, following a change of rhythm for the scherzo of the three bars of development section. This makes it likely that Mozart wrote more of G major string sextet (Op.36), leading to its eventual arrival at the opening of the this piece than has been preserved; the Mozart scholar Alan Tyson has even suggested clarinet quintet itself. Extraordinary – yet perhaps not so unexpected – that this he may have completed the movement. Unless further pages of the manuscript turn masterpiece from the culmination of its creator’s career should have originated from up, however, it must be regarded in the same way as other examples of incomplete so near its beginning: if the clarinet quintet has always appeared to us all to draw from Mozart. The manuscript was at one time thought to date from 1787, though the style and summon up a lifetime of experience, then the origins of the material itself would of the music and the scoring for basset clarinet always suggested to me some time appear to back up our impressions persuasively and aptly. nearer to the complete clarinet quintet of 1789. Indeed, modern research into the Alan George, 2006 water-marks on the paper has now placed it in the last two years of Mozart’s life – 1790-1. The would-be completer has several Mozartean models to consult: opening Allegro movements in the same key and metre (3/4). The closest of these is the string W.A. Mozart, Quintet Movement in B flat major, K516 (K. Anh.91) quartet, K.589, but the piano sonata, K.570, and earlier works like the symphony, K.319, (completed by Duncan Druce) the duo for violin and viola, K.424, and the divertimento, K.287, all provide valuable pointers as to how Mozart would have worked out and recapitulated his material. Mozart did not, like Beethoven, leave extensive sketches for his most important We do Mozart a disservice, however, to imagine that, even with these models, we can compositions. Indeed, it seems that he usually had at least the broad outlines of a adequately represent his intentions. The challenge is to get as close as possible, and at work clear and settled before committing anything to paper. However, there do exist the same time provide an opportunity to hear this music at all. quite a number of beginnings of compositions that were never finished, most of them dating either from c1779 (just before he left Salzburg for ) or from the last Like the completed A major clarinet quintet this movement was intended for the years of his life. These sketches range from a few bars in length to substantial torsos “basset-clarinet”, with its extended lower range down to written C. like the Mass in C minor. Somewhere in between these extremes come a number Duncan Druce, 2006 of instrumental movements where Mozart more or less completed an expository section. In some cases it is clear that Mozart discarded them in favour of something better – for example, there is a sketch for an alternative finale for the A major Alexander Glazunov, Rêverie Orientale, Op.14 No.2 clarinet quintet (K.581) which comes into this category – but usually the reason for terminating composition is more uncertain. Some of these incipits may have been Alexander Glazunov is not a composer whose music is discussed with any great abandoned in a spirit of self-criticism, but others are so good as to suggest other enthusiasm these days – if it is discussed at all, for it is certainly performed with very reasons why they were never finished – pressure of more urgent work or lack of an little regularity (with the exception of the wonderful Violin Concerto, Op.82, which is immediate opportunity for performance. The B flat quintet movement is unique in worthy of a place alongside the more celebrated Dvorˇák or Bruch). At a very early age

10 11 Glazunov possessed the gift of an extraordinarily quick and brilliant musical mind, so Who rises in the morning that his first symphony was performed – with great success, and the approval of Liszt and sees a white rose in the mouth of the day? – before he was seventeen. His talents were cultivated by such teachers as Balakirev The piece is a human reflection on the peculiarly clear, bright atmosphere of some and Rimsky-Korsakov into a formidable technique, and the resulting effortlessness early mornings, early in the year. The musical means are simple – a set of variations with which he was able to compose characterises virtually his entire vast output. on a melodic line which also provides its own accompaniment “punctuation”, over a Should he be remembered chiefly for his masterly realisations of Borodin’s unfinished background, atmospheric, ostinato “carpet” of sound, around which the clarinet sings, compositions (notably the opera Prince Igor and the third symphony), or as Shostakovich’s dreams and plays – sometimes with the discipline of Ceol Mor, and at others with the mentor at the Leningrad Conservatoire, this would be to devalue grossly the appeal wildness of birds. of his own richly rewarding music. Composed in March 1886, with the experience of William Sweeney, 2006 two of his seven string quartets already behind him, this haunting little piece actually grew out of an Adagio for two clarinets. Although it was orchestrated the following WILLIAM SWEENEY month the composer retained a preference for the more intimate chamber version: firmly in the Russian tradition (sounding at times more Borodin-like than Borodin!): William Sweeney was born in Glasgow in 1950 and educated at Knightswood a style at once so recognisable that the national characteristic supposedly evoked by Secondary School in Glasgow, the Royal Scottish Academy of Music and Drama, and the title barely adds a foreign accent: the colourful imagination of a confirmed Russian, the in . His output covers a wide range of instrumental, dreaming of far-off lands. orchestral, electronic and vocal forces. Commissions have been from such diverse Alan George, 2006 organisations as the BBC, Paragon Ensemble, St Magnus Festival, Musica Nova, Capella Nova, Mayfest, the STUC, Glasgow University, RSAMD, Moving Music Theatre, McNaughten Concerts, Theatre Cryptic and the Jim Henson Organisation. Equally William Sweeney, An Òg-Mhadainn (The Young Morning) diverse are the genres explored, from concert works through music for theatre, dance, Có a dh’ éireas anns a’ mhadainn movement, film and television and including a number of works designed for use in ’S a chì ròs geal am bial an latha? music in education. Among works from the later 90s are: incidental music for a film An Òg-Mhadainn (The Young Morning) was commissioned by Youth and Music Yorkshire, An Iobairt (The Sacrifice), which won a Scottish BAFTA Award for Best Music in 1997. at the request of the distinguished clarinettist Alan Hacker. They requested a solo This work was directed by Gerda Stevenson and scripted by Aonghas MacNeacail, piece for basset clarinet with simple accompanying parts, so that a group of young who was the librettist for the opera An Turus (The Journey), and Heave Awa’ House, people might be able to play them without much prior rehearsal; but it is also possible commissioned by the Scottish National Jazz Orchestra. An Turus was commissioned by to use a pre-recorded backing tape. The title page of the score quotes a line from A Paragon Ensemble, Scotland and premiered by them in 1998. Further collaborations Girl and Old Songs by the Gaelic poet Sorley Maclean – in translation: with Aonghas MacNeacail have been Àirc an dualchais (Inheritance Ark), commissioned

12 13 for the opening of the Museum of Scotland in November 1998 and Na thàinig anna a churach ud (All that came in that one coracle), commissioned for the opening of Arainn Chaluim Cille (the new campus for the Gaelic College on Skye) in 1999. More recent works include The Poet Tells of His Fame for solo cello and electronics, a song cycle based on poetry in Scots by Robert Fergusson for tenor and harp, a string quartet (No.3) and Pro Patria, a setting of words by the 16th century Scottish scholar and poet, George Buchanan. In 2006 he was awarded a Creative Scotland Award, to create a composition combining live performance and electro-acoustics, exploring the sensibility of Scottish musicians of the 1960s who defined their identity through the music of Black America.

LESLEY SCHATZBERGER clarinet Lesley Schatzberger has been at the forefront of historical instrument performance since her student days, whilst also remaining active in a broad range of music making. After studying at the junior department of the Royal Manchester College of Music, she went on to the , and then to the Royal Academy of Music, where her teacher was Alan Hacker. Soon afterwards she took part in pioneering performances of Haydn, Mozart and Beethoven on period instruments, which led to her appointment as principal clarinet with Roger Norrington’s London Classical Players and then also in John Eliot Gardiner’s English Baroque Soloists and Orchestre Révolutionnaire et Romantique. In addition, she has played regularly with Christopher Hogwood’s Academy of Ancient Music, with which she has also appeared as concerto soloist. Guest appearances with orchestras in Europe and the have been a feature, and she has recorded and toured extensively with Stockhausen’s chamber ensemble. Other solo and chamber recordings include Mozart’s Clarinet Quintet, his Quintet for Clarinet, Basset Horn and Strings, the Gran Partita, K361, the two Konzertstücke for Clarinet, Basset Horn and Piano by Mendelssohn, Schubert’s Shepherd on the Rock, and Spohr’s Six German Songs. She was made an honorary Doctor of the University of York in 2006.

14 15 Lesley’s time is now divided between her playing and the running of Jessie’s Fund (see below). The charity was established in memory of her daughter, Jessica, who died at the age of nine – having been diagnosed with a brain stem tumour just a few weeks after the arrival of the Ottensteiner/Tutz clarinet.

FITZWILLIAM STRING QUARTET Lucy Russell violin Jonathan Sparey violin Alan George viola Andrew Skidmore cello

Founded in 1968 by four Cambridge (England) undergraduates, the Fitzwilliam String Quartet first became well known through their close personal association with Dmitri Shostakovich, who befriended them following a visit to York to hear them play. He entrusted them with the Western premières of his last three quartets, and before long they had become the first ever group to perform and record all fifteen. These recordings, which gained many international awards, secured for them a world wide concert schedule, and a long term contract with Decca/London which culminated in a Beethoven cycle. Indeed, the Shostakovich set was included in Gramophone magazine’s ‘Hundred Greatest-ever Recordings’ in November 2005. They are one of the few string quartets in the world to use Classical instruments for the appropriate repertoire, and perhaps unique in that they perform on both historical and modern set-ups – sometimes within the same concert! Extremely generous private patronage has made possible their current collaboration with Linn Records, which began with Haydn’s The Seven Last Words (Linn CKD 153, recorded at Glasserton, Scotland). In July 2001 they made their first ever trip to South Africa, where they gave two concerts in the National Arts Festival at Grahamstown (the second largest in the world, after Edinburgh) – including the world première of Michael Blake’s first quartet. That experience also initiated a renewed interest in contemporary music, which has

16 17 resulted in nearly thirty additions to the new century’s repertoire. For example, they JESSIE’S FUND recently completed a cycle of four annual commissions from the Swaledale Festival, The collaboration between Linn Records and the Fitzwilliam was initiated through each with strong Yorkshire connections. The first of these was Rachel Stott’s Quiet Earth, based on Emily Brontë’s Wuthering Heights, followed in 2003 by Stone from Peter a bequest by the late Barbara Gomperts. It was the wish of her family that royalties Dyson (a Yorkshireman living in St Petersburg) which actually included the building of from the sale of the first CD (Haydn’s Seven Last Words, Linn CKD 153) should a dry stone wall on stage! Next came the turn of Matthew King, who had previously go to Jessie’s Fund, registered charity no.1045731. A memorial to the daughter of written his first quartet for the Fitzwilliam – first performed at the 2002 Canterbury Lesley Schatzberger and the Fitzwilliam’s viola player, Alan George, the Fund helps Festival (a new horn quintet has recently arrived); Duncan Druce completed the series seriously ill and disabled children through the therapeutic power of music as a form in summer 2005, returning to the Wuthering Heights theme. Other travels have taken of communication, particularly in special schools and children’s hospices nationwide. It them to Slovenia for the first time, as well as to Munich, where they took part in an was in Martin House Children’s Hospice, Yorkshire, that Jessica died in May 1994. international dance film featuring Shostakovich’s last three quartets. There have also Further information is available from +44 (0)1904 658189, been four visits to Russia, which included sharing an all-Tchaikovsky programme with or www.jessiesfund.org.uk. the St. Petersburg Klassika Symphony Orchestra, plus concerts in Pushkin’s House, the Sheremetev Palace, and the Summer Palace at Peterhof, as well as at Agora – former The present recording has been made possible by further sponsorship home of Modest Tchaikovsky, where his brother regularly stayed: their ‘Green Room’ from Barbara’s son Bastien, and an anonymous donor. was the very room where the composer had breakfast with Chekhov! In 2005 they had to miss in their annual Residency for Initiatives of Change in Caux, – 2004 having seen the world première there of Carolyn Sparey’s new quartet, inspired by the great potter Bernard Leach. But they returned to Caux in summer 2006, where in 2002 they first collaborated with the German saxophonist Uwe Steinmetz; autumn that year saw them working extensively with his jazz group in Sweden, Switzerland and Germany – where their CD of Steinmetz’s Bonhoeffer Suite was released in 2006; the collaboration continued in in November 2005. Their trip to the USA in February 2006 included a marathon three-hour event in Lorin Maazel’s private concert hall at his farm near the Blue Ridge Mountains in Virginia. They have been invited to make tours to China and India, and 2006 saw return visits to Spain, Switzerland, the USA, and to Russia for the Shostakovich centenary celebrations. Indeed, it was this special anniversary which, not surprisingly, was at the centre of their activities that year. www.fitzwilliamquartet.org

18 19 ALSO AVAILABLE BY THE FITZWILLIAM STRING QUARTET ON LINN RECORDS ‘THE SEVEN LAST WORDS OF OUR SAVIOUR ON THE CROSS’

– CKD 153 –