Friedrich Ernst Fesca
Friedrich Ernst Fesca's String Quartets (3), Op. 1, are by no means deep or innovative works, and they are certainly average in comparison with the quartets of Ludwig van Beethoven or Franz Schubert, his contemporaries. As a composer making his living as a court musician in Germany, Fesca was rather far removed from the musical life of Vienna and was consequently unaware of stylistic advances. Yet his quartets have at least as much charm, ingenuity, and finesse as the string quartets of Nikolaus Zmeskáll or Georg Likl, which the Authentic Quartet presented on its first two albums; and Fesca's penchant for flashy violin parts and rich, resonant textures may remind some listeners of the gemütlich chamber music of Louis Spohr. While the merits of these works are open to dispute, the value of this ensemble's playing is not, there are few period groups with its sparkle, warmth, and genuine feeling for this kind of light chamber music, and they sound superb on this brilliantly produced disc. Hungaroton's sound quality is immediate and vibrant, so the music is given the best possible presentation.
by Blair Sanderson
Johann Georg Albrechtsberger
Johann Georg Albrechtsberger lived from 1736 to 1809. He became a friend of Haydn, a successor to Mozart at St Stephen's Cathedral, and a teacher of Beethoven. He was known as the foremost theorist and composition teacher in Vienna in the late 18th Century and instructed many others, including Hummel, Moscheles, and Zmeskall. In addition, he left several hundred compositions. Most remain unknown, but the ones I know are well above the run of the mill. These three quartets are his Opus 7:4-6 and the only ones among his 30 or so quartets that aren't fugal in nature. Unlike Opus 7:1-3, which were published in Pressburg (Bratislava) in 1789, these evidently remained in manuscript. The quartets are in usual four movements and last 19-26 minutes - quite substantial for his time. The themes are interesting and attractive. The Authentic Quartet is a Hungarian period instrument ensemble. They play very well and with plenty of style. The recording is well spread and beautifully defined, with each instrument clearly positioned. Interesting notes round out this fine issue.
BAUMAN
Joseph Wölfl
Az alapítvány támogatásával
Belehallgatok
emezkritikák
All Music Guide: "Anyone who loves the radiant sound of eighteenth century string instruments will
find this 2005 Hungaroton disc delightful, and perhaps even become a fan of the aptly named
Authentic Quartet for its fastidious and scintillating playing in period style." (Zmeskáll)
Bauman - American Record Guide: "The Authentic Quartet uses period instruments tuned to A=430 hz.
They are experienced Hungarian musicians who came together to play classical string quartets in 2002.
They play well and are beautifully recorded. This is attractive if you want to go beyond the Viennese mainstream." (Lickl)
Carl Philipp Stamitz zählt zu den bekanntesten Vertretern der zweiten Komponistengeneration innerhalb der Mannheimer Schule, welche die wesentlichen Elemente des Stils der Wiener Klassik entwickelte und publik machte, nicht zuletzt auch den Orchesterklang erneuerte und die Art des Instrumentalspiels ganz allgemein. Stamitz war als zweiter Geiger der Hofkapelle tätig, trat bald im Rang eines Hofkomponisten in den Dienst des Herzogs Louis de Noailles in Paris und bereiste als Virtuose halb Europa. Später wirkte er in London, aber sein Ruhm verblaßte langsam. Er starb schließlich völlig verarmt in Jena. Während seiner besten Schaffensjahre war das Streichquartett zu einer der beliebtesten Gattungen der Hausmusik geworden, und gern wurde die in dieser Zeit eine erste Hochblüte erlebende Klarinette eingesetzt, die 1. Violine des Quartetts zu ersetzen und so den Gesamtklang um eine reizvolle neue Farbe zu bereichern.
Johann Baptist Vanhal
Spányi Miklós
In Erinnerung bleibt: Vanhal war ein Meister seines Fachs, zu dessen spätem Nachruhm diese mit viel Einfühlung, mit schönen farblichen Akzenten ausgeleuchtete Einspielung einiges beitragen sollte. Miklós Spányi am Hammerflügel (einem Anton Walter-Nachbau von Chris Maene aus dem Jahr 2003) und das „authentische“ Quartett auf alten Instrumenten geben nicht nur Anhaltspunkte, was diese – selbst in Moll-Bewegungen – freundliche Musik anbelangt, es gelingt ihnen, eine ausführliche Vorstellung dessen zu geben, was im Vorfeld, was im Umfeld der ganz Großen der Kammermusik im Guten und im vorbereitend Förderlichen geschehen ist. Peter Cossé (21.01.2009)
