• 2L093SABD Katalognummer
  • 7041888517825 EAN
  • SABD Format
  • 2013 Utgivelsesår

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Franz Schubert (1797–1828) String Quartet No. 14 in D minor D. 810Death and the Maiden1 Allegro 10:582 Andante con moto 12:533 Scherzo. Allegro molto 3:484 Presto 9:05Edvard Grieg (1843–1907)String Quartet in G Minor Op. 275 Un poco Andante – Allegro molto ed agitato 11:456 Romanze. Andantino 6:237 Intermezzo. Allegro molto marcato – Più vivo e scherzando 6:068 Finale. Lento – Presto al Saltarello 8:56The connection between Edvard Grieg’s String Quartet in G minor and Claude Debussy’s String Quartet in the same key is very well documented. On the surface, this connection might seem a little unlikely since Debussy once – a little cruelly perhaps – dismissed Grieg’s music as having the strange and delightful taste of pink candy filled with snow. But a closer look at Debussy’s own music reveals that he in fact owed more to his older colleague than he cared to admit. Both their G minor quartets not only share the same tonic key, but also the general outline of the main themes, which are thematically prominent throughout the two quartets. Thus both works are in effect cyclical, a device not so common in chamber music before Grieg’s time. There are also, of course, many differences between these two works, but it remains fascinating to note the similarities between them. However, comparatively little (or rather, to the best of my knowledge, nothing at all) has been written on the subject of the models Grieg himself might have had for his string quartet, in terms of style, instrumentation and musical idiom. As is well known, Grieg did not consider himself a master of the big forms, and, despite such an incredibly successful work as the early Piano Concerto in A minor, history on the whole has proved him right. He even went so far as to suppress his only symphony, literally forbidding posterity to perform or hear the work. However, he never actually destroyed the manuscript and this indicates, perhaps, that he still harbored ambitions to be a symphonist. At all events, it seems reasonable to see the G minor String Quartet as an attempt by Grieg to “redeem” himself as a composer of music on a larger scale. He said that he wanted this new work to sound as big as possible for the four string instruments, and the frequent use of double stops, loud dynamics and heavy accents certainly lends to it an orchestral air. In fact more than one string orchestra has tackled the work, only adding a double bass part to the already full-bodied texture.During composition of this quartet, Grieg repeatedly met stumbling blocks in terms of difficulty of form and lack of inspiration. Much can be attributed to the fact that he was going through a particularly difficult phase in his personal life at the time, as well as suffering from one of his recurring losses of confidence. This certainly makes an imprint on the music: its sombre and troubled atmosphere makes it a somewhat problematic, even recalcitrant piece, in spite of its many passages of repose and light. — 5 —Geir Inge Lotsberg and Liv Hilde Klokk (violins) Are Sandbakken (viola) and Øystein Sonstad (cello)

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