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Jerusalem Quartet - Béla Bartók: String Quartets Nos. 1, 3 & 5

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Béla Bartók: String Quartets Nos. 1, 3 & 5

Jerusalem Quartet

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Even in the context of it no longer being unusual to present Bartók's string quartets as firmly classical works, rather than majoring on their Hungarian folk echoes, the Jerusalem Quartet's Bartók's is still striking for its sheer polish and beauty of tone. We heard it with the first installment of their cycle, covering numbers 2, 4 and 6. Now we have it again with numbers 1, 3 and 5.

The beauty doesn't come at the expense of drama or momentum, either. Thinking of momentum in particular, Quartet No. 1's final Allegro vivace is bristling with it, although it's perhaps other qualities that leap most to the fore across this ravishing reading. Written in 1909 as a farewell to the violinist Stefi Geyer, for whom Bartók had long nursed a painful, unrequited love, this work is a melding of his late Romantic, Germanic or Austro-Hungarian early background, with the new influences of Debussy and folk music, and here the melding of all this is often sublime. For instance drop in at at 2'15” and 8'37” in the final movement for ecstatic climaxes which, to the already intoxicating wholetone harmonies and pentatonic scales, these four bring a luminosity of tone and sumptuously wide sound that brings shimmering Debussy orchestral scores to mind. Or for an example of the Viennese elegance with which they've dealt with the Hungarian folk echoes, head to the violin double-stops preceding that second climax (from 7'00” onwards) which are all the more effective for the Jerusalem not having taken the overt gypsy shindig route.

On to 1927 for the Third Quartet - and Bartók's later, more concentrated and abstract style - and under the Jerusalem's fingertips its succession of special string effects are bringing fresh sonic treats at every twist and turn: eerily beautiful sul ponticello passages; glissandi despatched with both firm control and fluid flexibility; a fabulous depth of tone when the score (often) demands; razer-sharp definition to the lines, whether over homophony or contrapuntal interweavings. © Charlotte Gardner/Qobuz

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Béla Bartók: String Quartets Nos. 1, 3 & 5

Jerusalem Quartet

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1
String Quartet No. 1, Op. 7, Sz. 40, BB 52: I. Lento
00:08:40

Bela Bartok, Composer - Copyright Control, MusicPublisher - Jerusalem Quartet, Ensemble, MainArtist

2020 harmonia mundi 2020 harmonia mundi

2
String Quartet No. 1, Op. 7, Sz. 40, BB 52: II. Allegretto
00:10:23

Bela Bartok, Composer - Copyright Control, MusicPublisher - Jerusalem Quartet, Ensemble, MainArtist

2020 harmonia mundi 2020 harmonia mundi

3
String Quartet No. 1, Op. 7, Sz. 40, BB 52: III. Allegro vivace
00:10:48

Bela Bartok, Composer - Copyright Control, MusicPublisher - Jerusalem Quartet, Ensemble, MainArtist

2020 harmonia mundi 2020 harmonia mundi

4
String Quartet No. 3, Sz. 85, BB 93: I. Prima parte. Moderato
00:04:35

Bela Bartok, Composer - Jerusalem Quartet, Ensemble, MainArtist - Universal Edition, MusicPublisher

2020 harmonia mundi 2020 harmonia mundi

5
String Quartet No. 3, Sz. 85, BB 93: II. Seconda parte. Allegro
00:05:48

Bela Bartok, Composer - Jerusalem Quartet, Ensemble, MainArtist - Universal Edition, MusicPublisher

2020 harmonia mundi 2020 harmonia mundi

6
String Quartet No. 3, Sz. 85, BB 93: III. Ricapitulazione della prima parte. Moderato
00:03:02

Bela Bartok, Composer - Jerusalem Quartet, Ensemble, MainArtist - Universal Edition, MusicPublisher

2020 harmonia mundi 2020 harmonia mundi

7
String Quartet No. 3, Sz. 85, BB 93: IV. Coda. Allegro molto
00:02:07

Bela Bartok, Composer - Jerusalem Quartet, Ensemble, MainArtist - Universal Edition, MusicPublisher

2020 harmonia mundi 2020 harmonia mundi

8
String Quartet No. 5, Sz. 102, BB 110: I. Allegro
00:07:59

Bela Bartok, Composer - Jerusalem Quartet, Ensemble, MainArtist - Universal Edition, MusicPublisher

2020 harmonia mundi 2020 harmonia mundi

9
String Quartet No. 5, Sz. 102, BB 110: II. Adagio molto
00:05:55

Bela Bartok, Composer - Jerusalem Quartet, Ensemble, MainArtist - Universal Edition, MusicPublisher

2020 harmonia mundi 2020 harmonia mundi

10
String Quartet No. 5, Sz. 102, BB 110: III. Scherzo. Alla bulgarese
00:05:21

Bela Bartok, Composer - Jerusalem Quartet, Ensemble, MainArtist - Universal Edition, MusicPublisher

2020 harmonia mundi 2020 harmonia mundi

11
String Quartet No. 5, Sz. 102, BB 110: IV. Andante
00:05:13

Bela Bartok, Composer - Jerusalem Quartet, Ensemble, MainArtist - Universal Edition, MusicPublisher

2020 harmonia mundi 2020 harmonia mundi

12
String Quartet No. 5, Sz. 102, BB 110: V. Finale. Allegro vivace - Presto
00:07:33

Bela Bartok, Composer - Jerusalem Quartet, Ensemble, MainArtist - Universal Edition, MusicPublisher

2020 harmonia mundi 2020 harmonia mundi

Descrizione dell'album

Even in the context of it no longer being unusual to present Bartók's string quartets as firmly classical works, rather than majoring on their Hungarian folk echoes, the Jerusalem Quartet's Bartók's is still striking for its sheer polish and beauty of tone. We heard it with the first installment of their cycle, covering numbers 2, 4 and 6. Now we have it again with numbers 1, 3 and 5.

The beauty doesn't come at the expense of drama or momentum, either. Thinking of momentum in particular, Quartet No. 1's final Allegro vivace is bristling with it, although it's perhaps other qualities that leap most to the fore across this ravishing reading. Written in 1909 as a farewell to the violinist Stefi Geyer, for whom Bartók had long nursed a painful, unrequited love, this work is a melding of his late Romantic, Germanic or Austro-Hungarian early background, with the new influences of Debussy and folk music, and here the melding of all this is often sublime. For instance drop in at at 2'15” and 8'37” in the final movement for ecstatic climaxes which, to the already intoxicating wholetone harmonies and pentatonic scales, these four bring a luminosity of tone and sumptuously wide sound that brings shimmering Debussy orchestral scores to mind. Or for an example of the Viennese elegance with which they've dealt with the Hungarian folk echoes, head to the violin double-stops preceding that second climax (from 7'00” onwards) which are all the more effective for the Jerusalem not having taken the overt gypsy shindig route.

On to 1927 for the Third Quartet - and Bartók's later, more concentrated and abstract style - and under the Jerusalem's fingertips its succession of special string effects are bringing fresh sonic treats at every twist and turn: eerily beautiful sul ponticello passages; glissandi despatched with both firm control and fluid flexibility; a fabulous depth of tone when the score (often) demands; razer-sharp definition to the lines, whether over homophony or contrapuntal interweavings. © Charlotte Gardner/Qobuz

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