Today is Easter Sunday. It’s a big day for Christians worldwide. In fact, the biggest.
This is year is different, though. We couldn’t go to church in person. (Thanks a lot, COVID-19.) So everyone tuned in on the Internet. Wasn’t the same, of course. But it was nice enough.
Before service time, however, I settled in with a cuppa Joe to listen to the Tokyo String Quartet perform two of Brahms’ string quartets – and perform them exceptionally well, too.
I had not heard of the Tokyo String Quartet (1969-2013), nor any of its musicians, before this morning. But, as is so often the case, I discovered their remarkable talent by pursuing my latest musical project.
For the record, on tap today are Brahms’ string quartets – String Quartet No. 1 in C minor, Op. 51 No. 1, and String Quartet No. 2 in A minor, Op. 51 No. 2.
I’m a huge fan of string quartets.
From the pdf of download titled Brahms Edition Liner notes and sung texts (available from Brilliant Classics somehow…I forgot how I came to possess these), Jos van der Zanden writes in his essay about CD 16,
‘One hears how four intelligent people converse with one another, one listens to each of their arguments and becomes acquainted with the possibilities of each instrument’. This quotation from a letter written by Goethe in 1828 has been cherished by lovers of the string quartet for one and a half centuries. Rightly so, since it forms a concise, objective but poetic description of what string quartets are all about: the parity of the four instruments, irrespective of whether they reinforce, supplement or compete with one another. Goethe’s adjective ‘intelligent’ is particularly flattering. The poet was aware that the noble, serious string quartet, more than any other genre, was intended for the ear of the connoisseur.
Awesome. I love it!
From its entry on Wikipedia about these string quartets,
[Brahms] was 40 years old at the time of publication. Brahms regarded the string quartet as a particularly important genre. He reportedly destroyed some twenty string quartets before allowing the two Op. 51 quartets to be published. Explaining his progress to a publisher in 1869, Brahms wrote that as Mozart had taken “particular trouble” over the six “beautiful” Haydn Quartets, he intended to do his “very best to turn out one or two passably decent ones.” According to his friend Max Kalbeck, Brahms insisted on hearing a secret performance of the Op. 51 quartets before they were published, after which he substantially revised them.
Let’s get right down to it. What did I think of these?
My Rating (String Quartet No. 1):
Recording quality: 5 (according to my ears, it’s perfect)
Overall musicianship: 5 (superb)
CD liner notes: 3 (11-page essay about the life of Brahms, little else)
How does this make me feel: 5 (vibrant)
Total time: 30:17
My Rating (String Quartet No. 2):
Recording quality: 5 (according to my ears, it’s perfect)
Overall musicianship: 5 (superb)
CD liner notes: 3 (11-page essay about the life of Brahms, little else)
How does this make me feel: 4 (dynamic, compelling, enjoyable)
Total time: 30:36
Quartet No. 2 seemed more somber to me. Not exactly dark. But more emotional, or soulful. No. 1 was lively and engaging from the first movement. Both were well played, well recorded, and well received. If I had to choose between them, and could only listen to one, I’d pick No. 1.
Bravo!