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C​é​sar Franck & Edouard Lalo : String Quartets

by Kocian Quartet

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1.
String Quartet in D Major I. Poco lento - Allegro 16:01
2.
String Quartet in D Major II. Scherzo: Vivace 04:44
3.
String Quartet in D Major III. Larghetto 09:59
4.
String Quartet in D Major IV. Allegro molto 12:38
5.
String Quartet in E Flat Major, Op. 45 I. Allegro vivo 06:45
info
6.
String Quartet in E Flat Major, Op. 45 II. Andante non troppo 07:16
info
7.
String Quartet in E Flat Major, Op. 45 III. Scherzo. Vivace 05:13
info
8.
String Quartet in E Flat Major, Op. 45 IV. Finale. Appassionato 05:16
info

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"Lalo is referring to a German model, particularly the Beethoven’s Quartetto serioso when he writes his own Quartet. The introductory Allegro vivo progresses on an intense rhythmic scheme marked by violent contrasts, like a Berlioz-flavoured miniature ballet. The Andante non troppo brings about the required change of atmosphere, mainly during the first 18 bars, serious and persistent. The second theme is equally austere and plays on a rising ninth. The Vivace powerfully treats three ideas, the last of which is again a rhythmic ostinato imposing astonishing chromaticisms. One must wait for the trio before this scherzo takes a more melodic, almost lively turn. The Appassionato, more pathetic than violent, pursues its Beethoven quest, particularly in the development wherein the skilful counterpoint differentiates itself from the Grosse Fuge, Op. 133. Not well received by the critics [“musical metaphysics, harmonic research pushed to the extreme, excessive rhythmic subtleties, cloudy adagio, laborious, tormented harmony, vague, indecisive conception...”], Lalo is proposing a revised version given on 27 December 1884 with great success!
The Quartet in D appeared as the ultimate expression of Franck’s art and displays exceptional density and eloquence. From the beginning, Franck states the broad, almost liturgical, 14-bar cyclical theme in D, rising to the upper register like a succession of majestic chords on an imaginary organ. The Scherzo might seem more conventional in form and invention. Two themes follow one another: the first, essentially rhythmic, is played pianissimo with mutes on the pizzicati; the second, more melodic, is similar to a siciliana. The third part, Larghetto, is presented like a rondo enlivened by a long (30 bars) lilting phrase and the development establishes an amazing liveliness that does not subside until the recapitulation of the first two ideas, the second serving as a conclusion. The Finale, Allegro molto, proposes a summary of the whole work. The composer does not hesitate to quote himself, taking up a few motifs or phrasings from previous own works. For once, the listeners were not mistaken and they gave the work, premiered on 19 April 1890, a triumphal reception.

Récompenses: Choc by Le Monde de la Musique, Recommended par Classica, 5 by Diapason, 9 by Répertoire

“The excellent Kocian Quartet offers an interpretation of the Franck Quartet that is superb for its balance, radiance and commitment. The Czech musicians bring out the expressive intensity as much as the large cyclic form. They give a sound, nuanced vision of the Lalo Quartet, so inventive in its melodies, whether luminous or dramatic.” (Le Monde de la Musique, October 2000)"

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released January 1, 2000

Kocian Quartet (Ensemble)

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