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Mendelssohn: Complete Chamber Music for Strings Vol. 4 - Mandelring Quartett

Mendelssohn: Complete Chamber Music for Strings Vol. 4 - Mandelring Quartett

Audite  92.659

Stereo/Multichannel Hybrid

Classical - Chamber


MENDELSSOHN: String Quintet No. 1, Op. 18; String Quintet No. 2, Op. 87; Four pieces for String Quartet, Op. 81 (No.'s 3 & 4)

Mandelring Quartett
Gunter Teuffel, viola


This album brings to a close audite’s complete recording of Felix Mendelssohn’s Chamber Music for Strings with the Mandelring Quartett. Sitting alongside the better-known, substantial body of eight works for string quartet and the Octet Op. 20, Mendelssohn’s quintets for two violins, two violas and cello are often overlooked. This recording proves that this is mostly to do with the genre, and less so with the works themselves, both of which are significant compositions.

The Quintet in A major Op. 18 was written in 1826, during Mendelssohn’s period of apprenticeship in Berlin – shortly after his family’s move to a grand mansion on the Leipziger Straße, which provided the atmosphere and a venue not only for Lea Mendelssohn’s famous salon, but also for musical performances. Felix Mendelssohn, who in his youth studied and even developed the works of the great composers, from Bach to Beethoven, was mostly guided by Mozart for his first quintet – in the charm of his melodic ideas, in the transparent sonorities of an ensemble with double violas, and in the contrapuntally concentrated network of themes and motifs.

It would take nearly two decades for Mendelssohn to return to the string quintet genre – during a phase of rest and reflection that the busy conductor, general music director in Berlin and conservatoire director in Leipzig, had permitted himself at the spa of Bad Soden in the Taunus. The Quintet in B flat major that he composed here reflects his symphonic experience. The first violin opens the piece, soaring up with orchestral might over the trembling lower voices into a jubilant first theme – this atmosphere is maintained in the outer movements and, in the inner movements, contrasted with more intimate colours.

The two single movements for string quartet from the posthumous collection of Four Pieces for String Quartet Op. 81 – the Capriccio of 1843 and a youthful Fugue – complete this recording series.

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Review by John Broggio - August 31, 2014

A fitting conclusion to the Mandelring's Mendelssohn cycle.

This is the first time the whole of the Mandelring Quartett have performed the quintets on SACD; their viola player Roland Glassl may be found supporting the Henschel Quartett on Bruch / Mendelssohn: String Quintets - Henschel Quartett / Glassl (a different player is used for the Bruch). As noted, the attack of the Henschel Quartett's leader would certainly be too much for some (perhaps many) tastes. He also employed a quasi-Norbert Brainin portamento effect (not as prevalent, perhaps) that also detracted from the music simply speaking for itself.

Here, Sebastian Schmidt, wears his virtuosity lightly (as do his colleagues) and the opening of the early quintet is bathed in a glowing sunlit halo of sound. It is not mere beauty though for the Mandelring's point convincingly to echoes of the octet (despite the opus numbering, this was written after that astonishing masterpiece & revised later to the version performed here) in all movements, not just the similarly inspired Scherzo. The slow movement draws playing of restrained passion from all players that never gets close to tipping into sentimentality - the freshness of expression that was heard so winningly in the octet from Mendelssohn is portrayed just as keenly by the Mandelring Quartett and their colleague Gunther Teuffel. The aforementioned Scherzo demonstrates the sheer mastery that the Mandelring's bring to this score; the deftness of touch is a joy to behold. The ease with which the arabesques that litter the finale of first quintet are despatched with nonchalant ease by (mainly) Sebastian Schmidt; the unison passages remind one just well attuned these players are to each other in spirit as well as intonation.

In the second quintet, there is more passion and urgency in the Mandelring's approach in the opening movement; yet they find plenty of room for the more lyrical second subject. The second movement, with the instruction "andante scherzando", is perfectly judged but the perhaps the most remarkable part of this performance is the intensity given to the Adagio e lento; the insistent rhythmic device is delivered in a way that brings to mind Shostakovich. But do not worry, for the Mandelring's never forget who composed these notes, no matter what allusions our ears now find. The more lyrical aspects invoke a feeling that this, perhaps, should have been material for an opera; staggeringly powerful playing in the emotional use of the phrase. After such emotional tumult, the finale seems rather trite in spite of the enormous advocacy as shown here. Yet every flicker of dynamic changes and turn of phrasing is given astonishing vibrancy.

As their sign off for this series, the Mandelring Quartett complete their account of the Op. 81 pieces with the Capriccio & Fugue (the first two are included here: Mendelssohn: Complete Chamber Music for Strings Vol. 3 - Mandelring Quartett). The opening of the Capriccio belies what is to come next; the doleful Andante con moto masks completely the delightful interplay that is found when the Allegro fugato, assai vivace takes off. And takes off is a very apt description for the account here - all players here leave no doubt of their extraordinary virtuosity. For all the brilliance though, this is not playing that draws attention to the Mandelring Quartett except as a by-product; their & our focus is always on Mendelssohn's music. The Fugue movement starts simply & steadily as a welcome respite from the dizzying conclusion to the Capriccio; the Mandelring's approach it with reverence, as though it were (almost) a transcription of Bach which gave a fitting sense of calm & completeness as it brought the cycle to a close.

Audite's engineering team, as ever, serve the music and the Mandelring's impeccably well. A very believable sense of positioning and presence comes across.

Very strongly recommended (along with the other issues of this superb cycle).

Copyright © 2014 John Broggio and HRAudio.net

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Comment by fausto kantiano - November 24, 2016 (1 of 1)

Sadly, the Mandelring's brilliant new disc--Brahms's exquisite two string quintets opp 88 & 111--is not on SACD. It seems Audite, their label, has given up on the SACD format. The quintets were recorded in 96/24, but only released on redbook. You can though download the hires surround file at audite.de
The Mandelring have also recorded the string sextets, to be released in the spring.