Schubert: String Quartet No​.​14 in D minor, D​.​810 I Shostakovich: Chamber Symphony, Op​.​110A

by Konzerthaus Kammerorchester Berlin / Michael Erxleben

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1.
Franz Schubert: String Quartet No.14 in D minor, D 810 Death and the Maiden: I Allegro 15:11
2.
Franz Schubert: String Quartet No.14 in D minor, D 810 Death and the Maiden: II Andante con moto 13:08
3.
Franz Schubert: String Quartet No.14 in D minor, D 810 Death and the Maiden: III Allegro molto 04:18
4.
Franz Schubert: String Quartet No.14 in D minor, D 810 Death and the Maiden: IV Presto 08:43
5.
Dmitri Shostakovich: Chamber Symphony Op.110a: I Largo 04:47
6.
Dmitri Shostakovich: Chamber Symphony Op.110a: II Allegro molto 03:04
7.
Dmitri Shostakovich: Chamber Symphony Op.110a: III Allegretto 04:20
8.
Dmitri Shostakovich: Chamber Symphony Op.110a: IV Largo 05:33
9.
Dmitri Shostakovich: Chamber Symphony Op.110a: V Largo 03:54

about

„A quartet for string orchestra! This will sound strange to
you. I already know all objections that will be raised: the
destruction of intimacy, of individuality. But this would be
mistaken. What I intend is nothing but an ideal
representation of the quartet.“ (Gustav Mahler, 1899)
The perceived contradictions appear at first to be barely
reconcilable. On one side is the string quartet, regarded
unarguably as the noblest and most demanding musical
genre since the time of the First Viennese School. On the
other side are those works for string orchestra from the
19th century, which are associated with a rich, more
aesthetically pleasing, even lyrically melancholy tone – for
example, the widely popular serenades for strings by
Antonín Dvorak, Peter Tchaikovsky, Edvard Grieg, Robert
Volkmann and Edward Elgar. As a result, the boundaries
between string quartet and string orchestra seem to be
strictly drawn – if the occasional misunderstanding
of performance practice and particular aspects, or simply a
delightful new idea, had not led again and again to new
sonic explorations. Being so, the arrangement of Franz
Schubert’s String Quartet in D minor, D. 810 begun by
Gustav Mahler in 1894 does not appear so absurd at all.
His intention had been, to overcome the historical dilemma
of the string quartet, namely, how to introduce this highlydifferentiated,
intimate genre into the large concert hall. In
Mahler’s own words: „In the large room, the four voices
get lost; they do not speak to the listeners with the power
the composer intended. I give them this power by
reinforcing the voices. I release the expansion which
lies dormant in the voices, and make the sounds sing.”
Unlike Schubert and Beethoven who had to put up with
sundry arrangements of their published works,
Shostakovich was himself able to authorize the 1960
„symphonic“ version of his String Quartet No. 8, Op. 110
by Rudolf Barshai - and even encouraged the musician and
conductor of the Borodin Quartet to arrange other works
by him.
Cugate Classics proudly welcomes b-sharp, a fresh
Berlin based label for classical music. It is a premium
branch of the correspondent music production-company
and recording studio, which has already made a name for
itself with internationally acclaimed recordings of superior
artistic and technical quality. Recent awards include 2
Grammys, 6 Echo-Classic awards, multiple Gold and
Platinum awards and even two entries into the Guinness
Book of World Records.

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released December 1, 2019

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