{"id":1849,"date":"2016-10-26T06:54:13","date_gmt":"2016-10-26T06:54:13","guid":{"rendered":"http:\/\/altocd.com\/northernflowers\/?p=314"},"modified":"2024-01-24T00:57:53","modified_gmt":"2024-01-24T00:57:53","slug":"nfpma9937","status":"publish","type":"product","link":"https:\/\/altocd.com\/northernflowers\/product\/nfpma9937\/","title":{"rendered":"Complete Strings Quartets by Sergey Taneyev, Volume 5"},"content":{"rendered":"

The S.I. Taneyev Quartet<\/strong>
\nVladimir Ovcharek<\/strong>, violin
\nGrigory Lutzky<\/strong>, violin
\nVissarion Solovyev<\/strong>, viola
\nJosef Levinzon<\/strong>, cello<\/p>\n

Recorded in 1979 by the St. Petersburg Recording Studio.\u00a0\u00a0Sound Engineer: Gerhard Tses.
\nText: Northern Flowers.\u00a0\u00a0English text: Sergey Suslov.\u00a0\u00a0Design: Anastasiya Evmenova & Oleg Fakhrutdinov.
\nCover: Victor Borissov-Mussatov, Slumber of a Deity (fragment), 1905<\/p>\n

 <\/p>\n\n\n\n\n\n\n\n\n\n
<\/td>\nSergey Ivanovich Taneyev <\/strong> (1856\u20131915)<\/td>\n<\/tr>\n
<\/td>\nString Quartet No. 2 in C Major, Op. 5<\/strong> (1895)<\/td>\n<\/tr>\n
1.<\/td>\nAllegro<\/td>\n\n

13:43<\/p>\n<\/td>\n<\/tr>\n

2.<\/td>\nScherzo<\/td>\n\n

6:49<\/p>\n<\/td>\n<\/tr>\n

3.<\/td>\nAdagio espressivo<\/td>\n\n

12:09<\/p>\n<\/td>\n<\/tr>\n

4.<\/td>\nFinale. Allegro vigorosamente<\/td>\n\n

8:22<\/p>\n<\/td>\n<\/tr>\n

<\/td>\n\n

Total Time:<\/p>\n<\/td>\n

\n

41:03<\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

Sergey Ivanovich Taneyev and His String Quartets<\/strong><\/p>\n

Sergey Ivanovich Taneyev, remarkable Russian composer, pianist, teacher, scientist, and public figure in the world of music, was born in the ancient city of Vladimir in 1856. He started his piano studies at the age of five. In 1866, he entered Moscow Conservatory (which was opened the same year) and graduated in 1875 in the classes of P.I.\u00a0Tchaikovsky (Composition, gold medal) and N. G. Rubinstein (Piano). In 1875\u20131880, the young musician often went abroad, and stayed for long periods in Paris where he made the acquaintance of I. Turgenev, G. Flaubert, E. Zola, C. Gounod, C. Franck, C. Saint\u2013Sa\u00ebns, and many others.<\/p>\n

From 1878 till 1905, Taneyev taught harmony, instrumentation, composition, counterpoint, and piano at Moscow Conservatory. He was its director from 1885 till 1889. Among Taneyev\u2019s many students were Rachmaninoff, Skriabin, Medtner, and Gliere. He combined teaching with pianist activity. Sergey Ivanovich was one of the most outstanding pianists of his times. It was he who performed Tchaikovsky\u2019s First Piano Concert in Moscow for the first time. Taneyev as pianist had a tremendous repertoire and often appeared in ensembles.<\/p>\n

Taneyev connected his fate as personality and musician with the musical life of Moscow and its Conservatory. Due to the amazing integrity and purity of his nature, Sergey Ivanovich was called \u201cthe conscience of musical Moscow\u201d and its \u201capex\u201d. He was absolutely respected by the musical community, mixing with representatives of both Moscow and Petersburg schools of composing with equal heartiness. He had vast knowledge in most diversified fields of human activity, and his friends were remarkable writers, painters, and scientists of his times. Taneyev was tied to Tchaikovsky in a longstanding sincere friendship, which manifested itself in several volumes of captivating correspondence. This is what Modest Tchaikovsky, brother of Piotr Tchaikovsky, says about Taneyev in his memoirs: \u201c\u2026Never in my long life have I met with a soul more perfectly pure than Sergey Ivanovich, and no one have I respected so deeply, so utterly and meaningfully for his harmonious combination of qualities triumphantly soaring above everything that belittles the human nature. Prominent artist, great teacher, and everyday person fused in Sergey Ivanovich into an integral and strictly balanced image clear as a flawless diamond.\u201d<\/p>\n

Sergey Ivanovich died in Dyud\u2019kovo Village near Moscow in 1915, having caught cold at the funeral of A. N. Skriabin.<\/p>\n

Taneyev\u2019s music embodied the traditions of Glinka, Tchaikovsky, J. S. Bach, and composers of the Viennese school (primarily Beethoven). One of his greatest ideas in music was creation of a \u201cRussian polyphony\u201d, and the need for Russian music to live through a stage of contrapuntal development. He re\u2013considered the meaning of several genres of Russian music (chamber compositions, lyrico\u2013philosophical cantatas). Fugue was of a special importance for his creative work, where it may be found both as an independent opus and a part of an entire.<\/p>\n

Taneyev probable had no peers in the composership level in Russian music. He was a perfect master of the polyphonic techniques of Bach and Renaissance composers, and of the art of large form architecture. His best compositions attract you with flawlessly finished details and the logic of the entire. One of the most important works of his life, the book titled \u201cInvertible Counterpoint in the Strict Style\u201d (1889 \u20131909), is of a colossal scientific and pedagogical value.<\/p>\n

The composer\u2019s heritage of Taneyev is large in volume and diversified in genres. He composed Oresteia<\/em>, an operatic trilogy after Aeschylus; numerous cantatas for orchestra, choir, and soloists, among which are the famous St. John of Damascus<\/em> and Reading the Psalms<\/em>; four symphonies; instrumental concertos; 22 opuses for chamber ensemble; over 60 songs for voice and piano; choral compositions; pieces for piano; arrangements of traditional songs, and piano transcriptions of works of other authors.<\/p>\n

Instrumental chamber music is arguably the most important and meaningful part of Taneyev\u2019s heritage, a peak of Russian classical music. None of his contemporaries felt such acute interest for chamber instrumentalism, resulting in interpretations so diversified. In the nearly forty years of his composing career, Taneyev wrote 22 instrumental ensembles for different sets of instruments. In this genre, he was unrivalled in Russia.<\/p>\n

His string\u2013and\u2013bow ensembles splendidly demonstrate Taneyev\u2019s knowledge of expressive resources of string instruments. In these, his inventiveness reached real heights, enchanting beauty of sound, and subtlety of color effects, let alone the polyphonic skill. Taneyev managed the secret of the quartet style in a free and virtuoso manner, applying the art of combining four voices on the basis of their complete equality, interaction, and fusion. The art of quartet was the domain where the strongest aspects of Taneyev\u2019s artistic individuality \u2014 noble spirituality, sincerity and purity of lyrical emotion, subtle and profound intellectual culture \u2014 showed itself with the utmost fullness and perfection.<\/p>\n

The composer created most of his quartets in his mature years, and only three quartets were written in his younger days. The author, ever demanding to himself, did not publish those early etudes, considering them imperfect. They were printed in 1952 for the first time.<\/p>\n

Northern Flowers<\/em><\/p>\n

Quartet No. 2 in C major, op. 5 <\/strong>(1895)<\/p>\n

In his Second Quartet, Taneyev appears in the full maturity of his genius. The opus strikes with its spontaneity of intonations, intense drama, and unusually symphonic attitude. The conjunction of images in their conflict and dynamics makes it one of Taneyev\u2019s greatest achievements in instrumental chamber music.<\/p>\n

The main theme of the first movement (Allegro) is stern and majestic. Its proud appearance comprises a kind of inner energy, which is disclosed with a real Beethovenian might. Moreover, the very nature of many harmonic details reveals a clear influence of Beethoven. Remarkable in the final part of the first movement is the largamente episode, with its dramatic strain making you think of Tchaikovsky as the author of the Pathetic Symphony.<\/p>\n

The second movement, Scherzo \u2014 in its first and last sections, may be described as \u201cdemonic\u201d (there is also something of a \u201cfuneral scherzo\u201d in it). The main theme is close in its intonations to the \u201cDies irae\u201d sequence. Sinister coloring, alternation of convulsive rhythms, a cascade of accented figurations, and whirly passages \u2014 all these form a flow of exceptional sonic density. And suddenly, an abrupt turn follows. The cello intones an artless, song-like tune. It embodies something earthly, na?ve, and meek, and feminine.<\/p>\n

Emotionally, the range of the third movement (Adagio espressivo, the lengthiest in time of all slow movements by Taneyev) extends from soft lyrical and meek attitudes to pathetic sorrow, to an outburst verging despair. The texture of the Adagio is worth noting, with its harmonic intensity of an acerbic kind sometimes, with its fragmentations, overlays, modulations, chromatisms, and delays, which however never obscures the clarity of the melodic pattern. The Adagio of the Second Quartet is undoubtedly is one of the best and most perfect pages of Taneyev\u2019s music. The finale of the opus, with its merry tunes and fresh, pulsating rhythms, becomes a joyful and optimistic crown of the perfect musical edifice.<\/p>\n

After<\/em> S.I. Taneyev, a book by G. Bernandt<\/em><\/p>\n

The S. I. Taneyev Quartet<\/strong><\/p>\n

Vladimir Ovcharek<\/strong>, violin
\nGrigory Lutzky<\/strong>, violin
\nVissarion Solovyev<\/strong>, viola
\nJosef Levinzon<\/strong>, cello<\/p>\n

The S. I. Taneyev Quartet\u2019s debut performance was at the Minor Hall of Leningrad Conservatory in 1946. Its musicians were second-year students of the Conservatory at the time. Vladimir Ovcharek, Grigory Lutzky, and Vissarion Solovyev have been playing in the ensemble since the day of its foundation (since 1946), and Josef Levinzon joined the quartet in 1967. The Quartet was named after Sergey Ivanovich Taneyev in 1963.<\/p>\n

In the many decades of its existence, the Quartet, rightly considered to be one of the best ensembles of the Soviet Union, has performed over 6,000 concerts in dozens of cities of the USSR, in many European countries, in the United States, and in Japan. Among the partners of the legendary ensemble were D. Oystrakh, S. Richter, M. Rostropovich, B. Davidovich, N. Petrov, M. Pletnev, E. Virsaladze, and other famous musicians of our days.<\/p>\n

The S. I. Taneyev Quartet has released numerous records that are now in the golden treasury of the world recording. Among them are collections of quartets of Beethoven, Shostakovich, Miaskowski, and Taneyev, and compositions of Salmanov, Slonimsky, and Falik. The ensemble performed many premieres of quartets of today\u2019s authors, such as Agafonnikov, Basner, and Balakhov. Dmitry Shostakovich entrusted the premiere performance of his last quartet, the Fifteenth, to the Taneyev Quartet.<\/p>\n","protected":false},"excerpt":{"rendered":"

NF\/PMA 9937<\/h2>\n

Barcode:\u00a04607053326734
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