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CD ECM Records Rosamunde Quartett - Joseph Haydn: The Seven Words

Cod produs: CD1756
CD ECM Records Rosamunde Quartett - Joseph Haydn: The Seven Words

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2001

Rosamunde Quartett :
Andreas Reiner - vioara
Simon Fordham - vioara
Helmut Nicolai - viola
Anja Lechner - violoncel

Joseph Haydn - The Seven Last Words of our Saviour on the Cross op.51, Hob.III.50-56

The quartet version of "The Seven Last Words" is amongst the most remarkable works of chamber music produced during the 18th century - a highly potent distillation of an already remarkable original. The players of the Rosamunde Quartet, sparing of vibrato, concentrated but unforced of manner, understand that they're hear dealing with a work that hasn't so much as a single redundant gesture. [ Michael Dervant, Irish Times ]

Prezentare generala CD ECM Records Rosamunde Quartett - Joseph Haydn: The Seven Words

2001

Rosamunde Quartett :
Andreas Reiner - vioara
Simon Fordham - vioara
Helmut Nicolai - viola
Anja Lechner - violoncel

Joseph Haydn - The Seven Last Words of our Saviour on the Cross op.51, Hob.III.50-56

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After their acclaimed transcultural collaboration with bandoneonist Dino Saluzzi on 'Kultrum', the Rosamunde Quartett now deliver a powerful and persuasive performance of Joseph Haydn's intensely religious work. As writer Uwe Schweikert notes, 'The Rosamunde Quartett grasps the meditative-philosophical essence of the composition.' Written originally for large orchestra in response to a 1785 commision, Haydn prepared his string quartet version soon afterwards. It has long been regarded as one of the most challenging pieces in the string quartet repertoire.

* * *

Stereoplay, Die Audiophile
Klassik Heute, Empfehlung
Musik & Theater, Die exemplarische Interpretation

The playing is excellent. Every phrase of each of the nine movements has been thought through and presented in an astonishing range of colours. I simply can’t tell if they’re playing early instruments or not – they certainly do not avoid open strings – but their tuning and ensemble is meticulous (as you’d expect from any quartet, of course, but here it’s formidably “con una voce”). Very highly recommended.
Brian Clark, Early Music Review

The list of virtues is fairly simple to enumerate: variety and refinement of tone, internal clarity, historical awareness, imagination and a certain poise that not all its rivals can claim in equal measure.
Rob Cowan, Gramophone

There are already a number of distinguished performances in the catalogue to which we can now add the Rosamunde Quartet, its interpretation perfectly capturing the devotional gravity the work requires. Subtle differences of expression in the slower inner movements are ideally captured, the dramatic opening setting the scene for the story that is to unfold. The players employ a wide dynamic range throughout, with tempos nicely propelled to avoid any hint of sentimentality. … Intonation is impeccable and the unanimity of ensemble unerring: two key factors when the music moves at such a slow pulse. The group also makes the most of the magical contrasts between the darkness of minor keys and rays of light created by the major. After the long sequence of movements, I enjoyed greatly the Rosamunde as it creates the necessary musical whirlwind in the final Presto, as ‘the veil of the temple was rent in twain’. The very natural, if somewhat dry, sound of the recording also plays a role in the impeccable balance between instruments.
David Denton, The Strad

The quartet version of "The Seven Last Words" is amongst the most remarkable works of chamber music produced during the 18th century - a highly potent distillation of an already remarkable original. The players of the Rosamunde Quartet, sparing of vibrato, concentrated but unforced of manner, understand that they're hear dealing with a work that hasn't so much as a single redundant gesture.
Michael Dervant, Irish Times

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