One of the most grown-up review sites around
One of the most grown-up review sites around

Search MusicWeb Here
 

 

International mailing

  Founder: Len Mullenger              Founding Editor: Rob Barnett              Contact Seen and Heard here

Some items
to consider

  • Henze Kammermusik 1958
  • Mozart Flute Quartets
  • Schubert complete piano works
  • Sammartini: 6 Concerti grossi
  • Henze Kammermusik 1958
 
Tudor



CD and Blue-ray Audio


CD and Blue-ray Audio


CPE Bach Cantatas
a revelation


Biber: Sacred Choral Works
Don't miss it


Jonathan Dove


Tommie Haglund
Unique and Powerful music


Organ Fireworks


Highly Entertaining


A triumphant performance


Bruckner Symphony 4
One of the finest I have heard


A most joy-inducing recording


A winning partnership


A Lohengrin to treasure.

 

REVIEW
Plain text for smartphones & printers


Gerard Hoffnung CDs

Advertising on
Musicweb



Donate and get a free CD

 

New Releases

Naxos Classical



Musicweb sells the following labels
Acte Préalable
(THE Polish label)
Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Vacant
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger

Support us financially by purchasing this disc from
Rued LANGGAARD (1893-1952)
String Quartets - Volume 2
Rosengaardsspil (Rose garden play) BVN153 (1918) [25.17]
String Quartet in A Flat major, BVN 155 (1918) [22.36]
String Quartet No. 4 Sommerdage (Summer Days) (BVN 215) (1914-18 rev 1931) [20.35]
Nightingale String Quartet
rec. Concert Hall, Royal Academy of Music, 18-21 August 2012, 16-17 November, 20-21 December 2013
DACAPO 6.220576 [68.28]

 It’s a great relief that Bendt Viinholt Nielsen’s helpful and detailed liner-notes clearly list the dates, keys and numberings of Langgaard’s quartets which are quite mixed and complicated. The reason for this is that some are not numbered, and No. 1 was rejected but parts were re-used as happened a little in other works. This is the middle disc of a set that aims to record all nine works for the medium although the DaCapo list has ten. Sadly and annoyingly I completely missed Volume 1, which was so well reviewed and contained Quartets 2, 3, 6 and the ‘O Sacred Head’ variations.
 
The grouping here binds around the title ‘The Rosengård Quartets’. As a twenty-year-old innocent the young Rued holidayed in Kyrkhult, a little Spa town, here he met his first and passionate love, a certain Dora. This experience sparked at least six works including these quartets. The opening work is entitled Rose Garden Play (Rosengaardsspil). The period between 1914 and 1925 not only saw the creation of most of the quartets but of many other fine works such as the masterly Sixth Symphony.
 
Back in the mid-1990s I bought a double album of Langgaard’s quartets (DaCapo DCD9302) and it’s interesting that of the six pieces on their discs the Kontra Quartet did not record the listed No. 1. This was probably because the material was re-used in the Fourth Quartet, subtitled Summer Days (Sommerdage). It’s also interesting that with each movement they are so much faster and less relaxed but sunnier. I’d never thought much about this before but on hearing the four young women of the Nightingale Quartet I now think that this new version has more character and virtue especially in the slow music of movement three. That said, it’s worth adding, and the Kontra’s clearly noted the fact, that Langgaard writes ‘Scherzoso’ for each of the movements. Perhaps however the composer wanted to communicate a sense of lightness and not jokiness. Anyway both versions surely pass the test. This is a late–romantic work although never sickly or too inward-looking.
 
The unnumbered quartet entitled Rose Garden Play was effectively Langgaard’s fourth. Its first movement is identical to that of the above, real Fourth Quartet and its finale is just a shorter version of the more developed finale of the Fourth. The middle movements consist of a delightful Scherzoso, which is subtitled Mozart, obviously neo-classical, and then a deeply felt Tranquillo dolente third movement given the title ‘Drop fall’ presumably because of its constantly falling theme. One can’t help but hear, in both of these works, various hymnal textures; Langgaard was originally famed as an organist and an improviser. Ironically and curiously it was only when he was 47 that he secured an organist position and that in the ancient but small town of Ribe with its superb cathedral.
 
Stylistically Langgaard can be hard to pin down and this might be the main problem as to why he was so rarely played. We like our composers to be generally consistent so that we can pigeonhole them. Some of you might know some of Langgaard’s experimental late symphonies.
 
Perhaps though, Langgaard failed to number his 1918 A flat Quartet, effectively his fifth in the medium, because he felt, in its neo-classical manner, that it lacked a strong individual character. It could almost have been written a hundred years previous. In the first two movements especially, Schubert or Beethoven are a strong presence. The second movement Scherzando is pleasing but no more than that. The third movement – Lento dolente - is a C minor funeral march but this, starting pizzicato has many beautiful and reflective passages, and seem to be more Langgaard than anyone else. The fourth movement begins as an earnest Allegro agitato but the quite lengthy ensuing tranquillo moves into a more Twentieth Century melancholia that is very touching.
 
Plenty to enjoy on this disc, not least the ideally sympathetic performances. There is also much that is frustrating and the occasionally excessive sentimental nostalgia can outstay its welcome. In some movements there is a lack of what one has come to discover in other works as the composer’s true originality. Even so I shall look out for the third volume. If it’s played and recorded as superbly as this then one need not worry that the financial outlay will deliver musical value.

Gary Higginson

Previous review: Byzantion