The peerless Takacs Quartet recently nominated for a Gramophone award for their second disc of Brahms's string quartets, continue their exploration of the Romantic chamber music tradition with this disc of Schumann. The Piano Quintet is by far Schumann's most popular chamber work and one of the most beloved works in the genre. Schumann was the first romantic composer to pair the piano with the string quartet. Schumann studied the string quartets of Beethoven, Mozart and Haydn and his quartet Op. 41 No. 3 demonstrates these influences. However, it contains many highly original strokes, particularly the casting of the scherzo as a set of variations. The Takacs Quartet are joined by Marc-Andre Hamelin in an invigorating partnership that has already been widely acclaimed on the concert platform.
Haydn’s six Op. 20 string quartets are milestones in the history of the genre. He wrote them in 1772 for performance by his colleagues at the Esterházy court and, unusually, not specifically for publication. Each one is a unique masterpiece and the set introduces compositional techniques that radically transformed the genre and shaped it for centuries to come. Haydn overturns conventional instrumental roles, crafts remarkably original colours and textures, and unlocks new expressive possibilities in these works which were crucial in establishing the reputation of purely instrumental music. The range within the quartets is kaleidoscopic. From the introspective, chorale-like slow movement of No. 1 via the terse and radical quartet No. 3 in G minor to the comic spirit of the fourth in D major, each of the quartets inhabits a distinct musical world. For many, this is some of the greatest music Haydn ever wrote. Playing these seminal works is one of the world’s finest young ensembles, the Doric String Quartet.
Corelli's Op. 5 Violin Sonatas have always been admired by chamber music fans; there are a couple of good recordings of them already available. But this new one by Baroque specialist and virtuoso Andrew Manze and harpsichordist Richard Egarr presents the sonatas in such a bright, exciting, and improvisatory light that they seem brand new. During the composer's lifetime, these sonatas were widely played and tremendously influential; there's a good chance that it was assumed that virtuosi took what was written on the page as a starting point for embellishing and sheer showing off.