フェリックス&ファニー・メンデルスゾーン: 弦楽四重奏曲集＜初回限定生産盤＞

フェリックス・メンデルスゾーンの情熱的なヘ短調の四重奏曲は1847年に彼の姉が亡くなったことに対する極めて個人的な反応でした。そしてわずか数ヵ月後に彼自身も亡くなりました。タカーチ弦楽四重奏団はこの曲とともに、ファニー自身がこのジャンルに残した重要な作品も同様に情熱的に演奏しています。
ユニバーサル・ミュージック/IMS

Many listeners will be drawn to this Takacs Quartet release by the presence of Fanny Mendelssohns String Quartet in E flat major, which remains sparsely represented on recordings despite the general upswing of interest in music by women. The work was unknown in the 19th century and was first published only in 1988. Composed in 1834, when Mendelssohn was 19, its really quite a striking attempt to wrestle with Beethovens example, featuring a fugal trio section in the Scherzo, references to the String Quartet No. 10 in E flat major, Op. 74 (Harp), and other Beethovenian touches. This plays to the strengths of the Takacs Quartet, a group well known for its Beethoven recordings; the Takacs Quartet brings out a palpable sense of exploration of the possibilities of the Beethovenian language in such passages as the harmonically ambiguous and pregnant opening of the first movement. If this is not enough, the Takacs performances of Felix Mendelssohns two string quartets are also very strong. Both of these works are influenced by Beethoven as well, and the quartet puts across the intensity of the despairing late String Quartet in F minor, Op. 80 (a response to Fannys death), without lapsing into a certain hysterical tone that sometimes comes with Mendelssohns chamber music. Fine chamber music sound from Hyperion engineers, working in the Lone Tree Arts Center in Colorado, is another attraction.