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Streichquartette Op. 2 Nr. 1-3

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Pleyel: String Quartets, Op. 2, Nos. 1-3
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Produktbeschreibungen

Pleyel : Quatuors à cordes, op. 2 n° 1, 2 & 3 / Quatuor Enso

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Format: Audio CD
Die Streichquartette von Ignaz Pleyel sind im breiten Publikum praktisch unbekannt, so wie auch der Komponist bis heute verkannt und vernachlässigt geblieben ist. Mit der vorliegenden Einspielung des Opus 2 besteht nun erstmals die Möglichkeit ein Stück Quartettliteratur kennenzulernen, das Haydns und Mozarts frühen Quartetten vergleichbar ist aber doch eigene Wege beschreitet - wer Haydns op.17 besonders liebt und Mozarts Mailänder Quartette, sollte sich Pleyels geniale Quartettserie op.2 anhören. Musik voller Vitalität, inspirierter Melodik und lyrischem Charme, italienisch angehaucht aber doch eben Wiener Klassik. Pleyel hat seinen Quartettzyklus Joseph Haydn gewidmet, daß er selbst als Komponist noch nicht gewürdigt wird, sollte berichtigt werden. Die Aufnahme von 6 Quartetten aus den 57, die er geschrieben hat, ist dazu ein erster Schritt, den wir dem Enso-Quartett verdanken. Pleyel feiert 2007 seinen 250.Geburtstag. Wäre das nicht ein guter Grund für eine Pleyel-Renaissance ?
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Amazon.com: 4.9 von 5 Sternen 8 Rezensionen
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Not Quite Haydn’s Successor 12. März 2016
Von bejart7092 - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Son of a school teacher from the wine growing region of Austria, Ignaz Pleyel (1757-1831) moved to Vienna and studied first with Jan Vanhal and then with Joseph Haydn. After travel to Italy, he composed in a wide variety of musical forms while working at the Strasbourg Cathedral. When the French Revolution closed the church, he was forced to find other employment, settling in Paris and founding a musical publishing company, a piano manufacturer and a performance hall that still exists today.

After Haydn, Pleyel may have been the most popular composer in Europe, and even Mozart thought that Pleyel should be Haydn’s successor. Among his 850 works are 41 symphonies, 17 string quintets, dozens of various trios, duets, concertos, and at least 70 string quartets. Most of these were written during the 1780’s, including his Op.2 set of six. The first three comprise this recording, all composed in three movemnets.

A sparkling ‘Allegro’ opens the A Major Quartet, No.1 in the trio. With the 1st violin assuming most of the melodic responsibility, the other voices take subordinate roles, only occasionally stepping into the spotlight for brief solo turns. Thematic development is less important as intense lyricism and melodic variety occupy Pleyel’s focus, often employing surprising chromatic shifts and energetic unison phrases. Delicate and somewhat tentative, the following ‘Adante grazioso’ is in a graceful 6/8 and written in A Minor. With finely filigreed work from the lead violin, a tragic undertone permeates this excellent middle section. And like all of his leisurely central movements, he instructs that it be played ‘Con sordini’, with mutes to dampen the strings vibration, giving the sound a softer quality. Back in A Major, a frisky ‘Minuetto’ concludes the quartet, but not before a spirited contrasting trio gives the first violin an opportunity to presents a bravura solo.

In C Major, the second quartet begins with a lively ‘Allegro molto’, which is mislabeled on the CD. Punctuated with starts and stops, rapid string crossings and flashy triple stops, this robust first movement is clearly not ‘moderato’. Fleet fingers are required from all four instruments as the 2nd violin echoes he the lead voice, and the cello takes a short, but vigorous solo. A splendid aria for the 1st violin in F Major, the gorgeous ‘Andante cantabile’ features a slide into the darkness of D Minor before returning the bright side and drifting to a placid end. The third movement is a bouncy ‘Allegro’ in 6/8 time that bursts into a frenzy of 16th notes delivered by the lead voice while bold unison phrases and sharp dynamic contrasts drive this finale forward.

Reversing the usual pattern of ‘fast-slow-fast’, the quartet in G Minor begins with a dirge-like ‘Adagio’. Somber and funereal, the first violin uses elastic phrasing to create dramatic pauses and play off the steady pulsing beat from the lower strings. Marked ‘Con sordini’, it is a stunning opening. Exploding out of the silence that follows, the jagged ‘Allegro assai’ is one of the high points of the entire recording. With frenetic energy and exquisite precision, all 4 voices chime in with lighting fast solos that demand technical excellence. Quick string crossings and double stops abound. Elegant sorrow characterizes the triple metered ‘Grazioso’ that closes the recording and employs the muted sound of the other slower sections. Shifting briefly into G Major, a sunny interlude offers a fleeting respite before the darkness returns for the final notes.

Originating from Yale University, the Enso String Quartet is superb, tightly knit and exceptionally tuned to one another with 1st violinist Maureen Nelson deserving special note. Released in 2004, the recording by Naxos is terrific, sharp and finely detailed. If your experience of Classical era string quartets begins with Haydn and ends with Beethoven, you owe it yourself to seek out Pleyel. While he never quite became Haydn’s successor, these 3 works certainly show how close he came.
2 von 2 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Another Pleyel Gem 14. Juni 2013
Von JHM - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Why we don't hear more of Pleyel's music is a mystery to me. This Quartet CD is no exception. The Enso Quartet is simply great! If you like Mozart, buy this. Sounds just like him! I can't stop listening to it.
3 von 3 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Pleyel-A Great Forgotten Composer................ 30. Juli 2008
Von CJV - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
Pleyel is an excellent composer and I find his chamber works well written and performed here. These SQs and the other CD, Op.2 No.4-6, were dedicated to Haydn like Mozart's "Haydn Quartets". These SQs I find very pleasing, inventive, and full of melody. They may not possess the 1st violin soloing of Haydn's, but they compensate with great melodies. I think Pleyel wrote some 50 SQs. Someone needs to record the complete set. There is genius in his works.
1 von 2 Kunden fanden die folgende Rezension hilfreich
4.0 von 5 Sternen Very clean playing 5. Juli 2008
Von A. Cohn - Veröffentlicht auf Amazon.com
Format: Audio CD Verifizierter Kauf
I'd never heard of the Enso quartet prior to their appearance on the St. Paul Sunday program in June, 2007. Even from a internet radio recording, I was amazed at the clarity of the playing. That such young players are wise and confident enough (in both themselves and their choice of material) to not over-interpret the music is quite impressive.

Although all the pieces on this CD and its companion sounds much the same to me (I can't claim the learnedness of previous posters), I love the transparency of the playing. I look forward to a long collaboration of these young musicians.
1 von 1 Kunden fanden die folgende Rezension hilfreich
5.0 von 5 Sternen Not Quite Haydn’s Successor 23. März 2016
Von bejart7092 - Veröffentlicht auf Amazon.com
Format: Audio CD
Son of a school teacher from the wine growing region of Austria, Ignaz Pleyel (1757-1831) moved to Vienna and studied first with Jan Vanhal and then with Joseph Haydn. After travel to Italy, he composed in a wide variety of musical forms while working at the Strasbourg Cathedral. When the French Revolution closed the church, he was forced to find other employment, settling in Paris and founding a musical publishing company, a piano manufacturer and a performance hall that still exists today.

After Haydn, Pleyel may have been the most popular composer in Europe, and even Mozart thought that Pleyel should be Haydn’s successor. Among his 850 works are 41 symphonies, 17 string quintets, dozens of various trios, duets, concertos, and at least 70 string quartets. Most of these were written during the 1780’s, including his Op.2 set of six. The first three comprise this recording, all composed in three movemnets.

A sparkling ‘Allegro’ opens the A Major Quartet, No.1 in the trio. With the 1st violin assuming most of the melodic responsibility, the other voices take subordinate roles, only occasionally stepping into the spotlight for brief solo turns. Thematic development is less important as intense lyricism and melodic variety occupy Pleyel’s focus, often employing surprising chromatic shifts and energetic unison phrases. Delicate and somewhat tentative, the following ‘Adante grazioso’ is in a graceful 6/8 and written in A Minor. With finely filigreed work from the lead violin, a tragic undertone permeates this excellent middle section. And like all of his leisurely central movements, he instructs that it be played ‘Con sordini’, with mutes to dampen the strings vibration, giving the sound a softer quality. Back in A Major, a frisky ‘Minuetto’ concludes the quartet, but not before a spirited contrasting trio gives the first violin an opportunity to presents a bravura solo.

In C Major, the second quartet begins with a lively ‘Allegro molto’, which is mislabeled on the CD. Punctuated with starts and stops, rapid string crossings and flashy triple stops, this robust first movement is clearly not ‘moderato’. Fleet fingers are required from all four instruments as the 2nd violin echoes he the lead voice, and the cello takes a short, but vigorous solo. A splendid aria for the 1st violin in F Major, the gorgeous ‘Andante cantabile’ features a slide into the darkness of D Minor before returning the bright side and drifting to a placid end. The third movement is a bouncy ‘Allegro’ in 6/8 time that bursts into a frenzy of 16th notes delivered by the lead voice while bold unison phrases and sharp dynamic contrasts drive this finale forward.

Reversing the usual pattern of ‘fast-slow-fast’, the quartet in G Minor begins with a dirge-like ‘Adagio’. Somber and funereal, the first violin uses elastic phrasing to create dramatic pauses and play off the steady pulsing beat from the lower strings. Marked ‘Con sordini’, it is a stunning opening. Exploding out of the silence that follows, the jagged ‘Allegro assai’ is one of the high points of the entire recording. With frenetic energy and exquisite precision, all 4 voices chime in with lighting fast solos that demand technical excellence. Quick string crossings and double stops abound. Elegant sorrow characterizes the triple metered ‘Grazioso’ that closes the recording and employs the muted sound of the other slower sections. Shifting briefly into G Major, a sunny interlude offers a fleeting respite before the darkness returns for the final notes.

Originating from Yale University, the Enso String Quartet is superb, tightly knit and exceptionally tuned to one another with 1st violinist Maureen Nelson deserving special note. Released in 2004, the recording by Naxos is terrific, sharp and finely detailed. If your experience of Classical era string quartets begins with Haydn and ends with Beethoven, you owe it yourself to seek out Pleyel. While he never quite became Haydn’s successor, these 3 works certainly show how close he came.
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