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Musique De Chambre

Musique de chambre

Alban Berg (Réalisateur)

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Label : TIMPANI ( + de détails )
Genre : CLASSIQUE ( + de détails )
Date de parution : 08/02/2010 ( + de détails )
Détails 3377891310059 ( + de détails )
Support : CD ( + de détails )
Nombre de disques : 1 ( + de détails )
None : Alban Berg / Anton Webern / Henri Dutilleux / Quatuor Ludwig ( + de détails )

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Written as a tribute to Berg's secret loYer, Hanna Fuchs-Robetrin, the Lyric Suite is music of passion and desolation, its serialist construction no mask for its late-Romantic language. The Ludwig Quarret reaches to the depths of its sobbing despair, from the sumptuous intensity of the opening Allegretto giovale to the nervous, intricate textures of the Allegro misterioso, with its frantic, ricochered bowings, and the unbridled angst of the Presto delirando. The final Largo, with its yearning quotation from Tristan, is gripping, pain suffusing every gesture.
Equally compelling is Dutilleux’s Ainsi la nuit, the Quartet revelling in its introspective textures and colouristic effects, such as the shards of artificial harmonics in the opening Nocturne and the drifting, dustered dords of the 'Miroir d'espace'.
Inconsistencies creep in with Webern's syrupy Langsamer Satz . Tuning is a little wayward at first and the violins' audible shifts of position become obtrusive, but the ensemble does settle and there are some songful and wonderfully undersrated soloiscic moments from viola player Padrig Fauré and cellisr Anne Copéry. The players indulge the work's Romantic leanings with fluidity of expression and a honqed tone. a shame thar their attention to technical detail wanders occasionally.

Catherine Nelson, BBC Music 08/99
PERFORMANCE ****
SOUND *****

Berg's Lyric Suite, is autobiographical cry of ecstasy and anguish at his frustrated love for Hanna Fuchs-Robettin, is an exception to the rule that the unplayably difficult music of yesterday becomes the polished display piece of today. It is still hideously hard to play, and the Ludwig Quartet (basically a French group, though their surnames include Audoli and Owen, and their Christian names Elenid and Padrig) prove their quality by not batting an eyelid at its next-to-impossible demands. No performance can measure up to the wild extremes of emotion that it explores, and just once or twice I ratefully thought the players a touch gallically restrained, but all the sheer strangeness of the piece is there, and its extraordinarily imaginative invention of new quartet textures.
The Ludwig play Henri Dutilleux's marvellous sequence of abstract nocturn as though they had known and l oved it all their lives - a beautiful performance of one of the classics of the modern quartet repertoire - and they revel in the uncharacteristic but gorgeous Brahmsian richness of Webern's early Langsamer Satz. The recording is clean but sonorous.

Michael Oliver, Classic CD 08/99