String Quartet No. 9 in A Major (1883) 5. Allegro moderato 8:28 6. Andante 8:44 7. Scherzo 8:43 8. Allegro giocoso 8:42
Total Time: 71:07
The S.I. Taneyev Quartet Vladimir Ovcharek, violin Grigory Lutzky, violin Vissarion Solovyev, viola Josef Levinzon, cello
Recorded in 1977 & 1979 by the St. Petersburg Recording Studio. Sound Engineer: Gerhard Tses. Text: Northern Flowers. English text: Sergey Suslov. Design: Anastasiya Evmenova & Oleg Fakhrutdinov.Cover: Victor Borissov-Mussatov, Slumber of a Deity (fragment), 1905
Quartet No. 6 in B flat major, op. 19, (1905) The Sixth Quartet exceeds its predecessors in its flawless structure, and organic unity of all of its components. But emotionally, it is also more austere and restricted than other Quartets. Its colors are not so bounteous and plentiful. The Quartet ’s form is perfectly proportioned, especially in its first movement, Allegro giusto. Its integrity is proved in the process of development of the main theme, which is the key image of the whole opus. A transformation of the main theme results in a cantilena by-part. That part in turn evolves into the major images of the Adagio serioso and the Jig. The architectural principle of the monothematic concept is emphasized in the closing bars of the finale by sounding the main theme in the principal key. The second movement (Adagio serioso) is elevated and rising to pathetics, with clear signs of a ballad nature. The third movement (Molto vivace) is a jig in place of a traditional scherzo. Echoes of Russian dance music can be heard in the rapid and light motion. Taneyev skillfully applies here his favorite technique of crystallization of the first movement ’s main theme. The finale (Allegro moderato) is somewhat motley in its array of themes, and is based on frequently varying motion and alternating growing "tides" and "ebbs". The whole development rests on mixed incompatible images, which join the main theme all along. The last section brings everything to a synthesizing unity.
Quartet No. 9 in A major, (1883) The initial sketches to the Quartet have been traced to the year 1881. After a break of nearly two years, Taneyev completed the piece in one month. The manuscript bears some notes by Tchaikovsky who looked through the Quartet by the author ’s request. The publisher assigned a number to the Quartet conventionally, as Taneyev only published six quartets with assigned numbers. This composition is the third on the list of the three early unpublished quartets. The music of the first two movements irresistibly attracts you with its hearty warmth and melodic fascination resembling some lyrical pages of Tchaikovsky. A scherzo and a finale close the Quartet in the manner of merry Russian folk dances. P. I. Tchaikovsky approved the etude of his student. About the Quartet ’s first movement, he wrote, “All this movement is very elegant ”, and his comment on the second one was, “Looks like it will sound good ”. Especially praised was the Scherzo: “A remarkably successful and lovely piece ”. The Quartet was never performed in public in Taneyev ’s lifetime, and was played only once in a home concert. After S.I. Taneyev, a book by G. Bernandt