Moscovite Alexander Grechaninov (or Gretchaninov) was from a well-off family and didn't start studying music till he was 14 when he joined the Moscow Conservatory, (strongly against his parents' wishes) under Arensky and Taneyev. After a row with Arensky he moved to St. Petersburg to study composition under Rimsky-Korsakov, who supported him financially as his parents refused to. After a return to Moscow in 1896 he started writing music for the theatre, opera, and Church. His vocal works became popular and his instrumental works even more so in his native Russia so much so that the Tsar granted him an annual pension. He emigrated to France in 1925 and then the United States at the start of the Second World War where he remained until he died.
His 4th String Quartet (F Major) was composed in 1929 in Paris but it is partly Russian in flavour, showing little sign of French impressionism but some Viennese influences.
The 1st movement, Allegro moderato, is very interesting with its clever inversion of the main theme of Beethoven’s 5th Symphony used a a base. The 2nd theme is also also lifted from Beethoven’s 5th symphony (by this point I was thinking "this sounds a bit like variations of Beethoven") and it dominates the entire movement with the rhythms being insistent and spritely. The 2nd movement, Maestoso assai, continues the feel of the 1st movement in a slower tempo but with gentler, more undulating repeated rhythms. The feel here is not Russian initially but very Viennese until the midway mark when it becomes slightly more turbulent and agitated before it begins to soften again and then finally dissipates. The 3rd movement, Allegro vivo, is a joyous, agitated scherzo that is symphonic in scope, with a boisterous, strong cello melody of a Russian folk tune set against the main theme. I love this movement, particularly as it starts to alternate between lively playing and pizzicato with a fine folk-infused trio included and topped off with a boisterous ending. The finale, Lento ma non troppo, - vivo, starts slowly with a simple, 5 note motif in its theme which becomes increasingly quicker until the Vivo section begins . Grechaninov develops the music skilfully here using accented rhythms and dissonances giving the quartet a more modernist feel but strictly rooted in tonality.
It's not a ground-breaking quartet but it's an interesting one and worthy of exploration. There are a handful of recordings of this work and all are at least recommendable so at least the recordings do justice to the material.
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The Moyzes Quartet, on Marco Polo, play with decent ensemble and are well-recorded but not as vivaciously or as closely as the competition (or as I'd prefer). Pizzicati aren't as delicately flowing or clear and there's not the coherence or the other two recordings, in all, but this is still a good recording.
The Utrecht Quartet are given MDG's clear, vivid, natural sound and are better balanced than the Moyzes and play the music quite delicately and reservedly. If that is your preference here then you will undoubtedly prefer this account than my favourite (below). Altogether this is a very fine account and one that will bring immense pleasure but perhaps a tiny bit understated for me.
However, although the Moscow Quartet's recording as regards sonics (it's still lovely and clear though) perhaps doesn't match the tonal clarity of the Utrecht they play with more verve, better pacing and a feeling of joy that I found utterly riveting. Their pizzicati are clear, buoyant and have the right rhythmic bounce to them plus they play in a more volatile, dynamic fashion than the others, with well-sprung rhythms and a thick tone that gives the music more of a Russian lilt than their competitors. Their final two movements are an absolute joy from start to finish with a really infectious cello and first violin tone.
Whatever the case there's no way you would regret purchasing any of this fine accounts. Try it.
www.talkclassical.com
His 4th String Quartet (F Major) was composed in 1929 in Paris but it is partly Russian in flavour, showing little sign of French impressionism but some Viennese influences.
The 1st movement, Allegro moderato, is very interesting with its clever inversion of the main theme of Beethoven’s 5th Symphony used a a base. The 2nd theme is also also lifted from Beethoven’s 5th symphony (by this point I was thinking "this sounds a bit like variations of Beethoven") and it dominates the entire movement with the rhythms being insistent and spritely. The 2nd movement, Maestoso assai, continues the feel of the 1st movement in a slower tempo but with gentler, more undulating repeated rhythms. The feel here is not Russian initially but very Viennese until the midway mark when it becomes slightly more turbulent and agitated before it begins to soften again and then finally dissipates. The 3rd movement, Allegro vivo, is a joyous, agitated scherzo that is symphonic in scope, with a boisterous, strong cello melody of a Russian folk tune set against the main theme. I love this movement, particularly as it starts to alternate between lively playing and pizzicato with a fine folk-infused trio included and topped off with a boisterous ending. The finale, Lento ma non troppo, - vivo, starts slowly with a simple, 5 note motif in its theme which becomes increasingly quicker until the Vivo section begins . Grechaninov develops the music skilfully here using accented rhythms and dissonances giving the quartet a more modernist feel but strictly rooted in tonality.
It's not a ground-breaking quartet but it's an interesting one and worthy of exploration. There are a handful of recordings of this work and all are at least recommendable so at least the recordings do justice to the material.
.
The Moyzes Quartet, on Marco Polo, play with decent ensemble and are well-recorded but not as vivaciously or as closely as the competition (or as I'd prefer). Pizzicati aren't as delicately flowing or clear and there's not the coherence or the other two recordings, in all, but this is still a good recording.
The Utrecht Quartet are given MDG's clear, vivid, natural sound and are better balanced than the Moyzes and play the music quite delicately and reservedly. If that is your preference here then you will undoubtedly prefer this account than my favourite (below). Altogether this is a very fine account and one that will bring immense pleasure but perhaps a tiny bit understated for me.
However, although the Moscow Quartet's recording as regards sonics (it's still lovely and clear though) perhaps doesn't match the tonal clarity of the Utrecht they play with more verve, better pacing and a feeling of joy that I found utterly riveting. Their pizzicati are clear, buoyant and have the right rhythmic bounce to them plus they play in a more volatile, dynamic fashion than the others, with well-sprung rhythms and a thick tone that gives the music more of a Russian lilt than their competitors. Their final two movements are an absolute joy from start to finish with a really infectious cello and first violin tone.
Whatever the case there's no way you would regret purchasing any of this fine accounts. Try it.
Merl's Blogged String Quartet and String Quintet...
As some of you are aware I started blogging my recommended string quartet recordings a while back as I didn't want to lose them in the Weekly String Quartet thread. However, blogging on TC has many limitations and there was no way to link all my posts in one place without the page disappearing...
www.talkclassical.com
