Wunderschöne und lyrische Interpretation dieses neoromantischen und perfekt komponierten Streichquartetts im gut phrasierten Tempo mit gut vereinigten und perfekt entsprechenden Tönen vierer technisch perfekten Instrumente. Der dritte Satz klingt besonders schön und echt lyrisch. Wahrlich intelligente und geniale Virtuosen!
LINER NOTES (for this piece): A striking feature of the string quartets, composed 35 years apart, is that they coincided with crucial periods in Vaughan Williams' development. The first is dated 1908, the year of Vaughan Williams's lessons in Paris with Ravel, after which his style matured and his long struggle to find himself was over (insofar as it is ever over for a creative artist). After three months, Vaughan Williams wrote of the Ravel episode, “I came home with a bad attack of French fever and wrote a string quartet which caused a friend to say that | must have been having tea with Debussy...” The point of this remark is especially obvious in the slow movement, where the principal theme has a distinct resemblance to one in the Debussy quartet. The work received its first performance in London in November, 1909, and was revised in 1921 preparatory to a number of performances given in Britain and Europe by a string quartet led by Andr Mangeot, who was a champion of English music but, as a Frenchman, perhaps felt particularly at home with this piece. It is obvious from all his music that Vaughan Williams had a special affection for, and understanding of, the viola, and it is the viola which announces the lyrical main theme of the first movement. Although not strictly monothematic, this finely constructed movement is dominated by this theme: the official second subject, in a modal E major, is really a variant. The mood becomes increasingly impassioned when the second subject is used in augmentation with an accompanying triplet rhythm. This subsides into a calm coda in which the interweaving of the parts anticipates the Fantasia on a Theme by Thomas Tallis and ends with the first violin holding a D three octaves above the chordal sequence whispered by the other instruments. The short Minuet is piquantly folksongish, with a trio which bows playfully to the shade of Haydn at his most rustic. The principal tune of the Romance is in 5/4 time, yielding for the middle section to triple time. There is effective use of pizzicato in this movement, but even more in the rondo finale, where Vaughan Williams indulges in more display writing than was his wont. If the first subject suggests that the animals are about to come in two by two, it is the viola which again has the lions share. With its swift changes of mood, its vigorous fugato section, and its brilliant and ostentatious ending, this movement makes a convincing conclusion to a most attractive quartet.
Thanks for this! My blog pages also include scans of the album sleeve notes - musicandvinyl.blogspot.com/2021/02/vaughan-williams-string-quartet-in-g.html?view=flipcard
Really a very nice work that shows the influence of some lessons he took with Ravel on 1908. This work was composed on 1909 and the shadow of the Ravel's String Quartet in F is evident, specially in the first movement. Vaughan Williams make his work sound entirely british with french tools. The sound of your setup is very clear and enjoyable.
Thanks for your comments. Apparently a friend said to Vaughan Williams that this sounded like he had been having tea with Debussy. Also the use of pizzicato is somewhat similar in places to the Ravel quartet ;o)
Many thanks for this precious upload of this Vaughan-Williams string quartet with a magnificent performance and a great sound quality ! I like the motion picture of the turntable, nostalgic sight for me.
It's a lovely piece isn't it? And yes Hugh Bean was indeed underrated. His recording, with Boult, of The Lark Ascending is simply magical. Outside of chamber music he made very few recordings, though I did notice he did Vivaldi's Four Seasons with Stokowski on Decca Phase4! During Vernon Handley's time with the Guildford Philharmonic Orchestra he was leader there for many years, and attending rehearsals when singing in the choir with the orchestra I found him to be a very charming and kindly person, self-effacing almost. Certainly not ego-driven, which might explain his low public profile. More a musician's musician than a prima donna! A bit like Handley, really ;o)
Beautiful. I love listening to Vaughan Williams
Wunderschöne und lyrische Interpretation dieses neoromantischen und perfekt komponierten Streichquartetts im gut phrasierten Tempo mit gut vereinigten und perfekt entsprechenden Tönen vierer technisch perfekten Instrumente. Der dritte Satz klingt besonders schön und echt lyrisch. Wahrlich intelligente und geniale Virtuosen!
Thanks so much for sharing; beautiful music!
LINER NOTES (for this piece): A striking feature of the string quartets, composed 35 years apart, is that they coincided with crucial periods in Vaughan Williams' development. The first is dated 1908, the year of Vaughan Williams's lessons in Paris with Ravel, after which his style matured and his long struggle to find himself was over (insofar as it is ever over for a creative artist). After three months, Vaughan Williams wrote of the Ravel episode, “I came home with a bad attack of French fever and wrote a string quartet which caused a friend to say that | must have been having tea with Debussy...” The point of this remark is especially obvious in the slow movement, where the principal theme has a distinct resemblance to one in the Debussy quartet.
The work received its first performance in London in November, 1909, and was revised in 1921 preparatory to a number of performances given in Britain and Europe by a string quartet led by Andr Mangeot, who was a champion of English music but, as a Frenchman, perhaps felt particularly at home with this piece.
It is obvious from all his music that Vaughan Williams had a special affection for, and understanding of, the viola, and it is the viola which announces the lyrical main theme of the first movement. Although not strictly monothematic, this finely constructed movement is dominated by this theme: the official second subject, in a modal E major, is really a variant. The mood becomes increasingly impassioned when the second subject is used in augmentation with an accompanying triplet rhythm. This subsides into a calm coda in which the interweaving of the parts anticipates the Fantasia on a Theme by Thomas Tallis and ends with the first violin holding a D three octaves above the chordal sequence whispered by the other instruments.
The short Minuet is piquantly folksongish, with a trio which bows playfully to the shade of Haydn at his most rustic. The principal tune of the Romance is in 5/4 time, yielding for the middle section to triple time. There is effective use of pizzicato in this movement, but even more in the rondo finale, where Vaughan Williams indulges in more display writing than was his wont. If the first subject suggests that the animals are about to come in two by two, it is the viola which again has the lions share. With its swift changes of mood, its vigorous fugato section, and its brilliant and ostentatious ending, this movement makes a convincing conclusion to a most attractive quartet.
Thanks for this! My blog pages also include scans of the album sleeve notes - musicandvinyl.blogspot.com/2021/02/vaughan-williams-string-quartet-in-g.html?view=flipcard
Thank you for posting this. I've been looking for this version of this piece for a long time... wonderful!
This is another great work I wasn't aware of at all!! I once more thank you for the wonderful and precious music you post!
I'm pleased you liked this!
Really a very nice work that shows the influence of some lessons he took with Ravel on 1908. This work was composed on 1909 and the shadow of the Ravel's String Quartet in F is evident, specially in the first movement. Vaughan Williams make his work sound entirely british with french tools. The sound of your setup is very clear and enjoyable.
Thanks for your comments. Apparently a friend said to Vaughan Williams that this sounded like he had been having tea with Debussy. Also the use of pizzicato is somewhat similar in places to the Ravel quartet ;o)
Many thanks for this precious upload of this Vaughan-Williams string quartet with a magnificent performance and a great sound quality ! I like the motion picture of the turntable, nostalgic sight for me.
Thank you for your comments Frans! I'm pleased you enjoyed this (and watching the turntable spin round ;o)
Superb. Other recordings in the CD era but this recording has yet to be bettered. Big shout for the underrated Hugh Bean.
It's a lovely piece isn't it? And yes Hugh Bean was indeed underrated. His recording, with Boult, of The Lark Ascending is simply magical. Outside of chamber music he made very few recordings, though I did notice he did Vivaldi's Four Seasons with Stokowski on Decca Phase4! During Vernon Handley's time with the Guildford Philharmonic Orchestra he was leader there for many years, and attending rehearsals when singing in the choir with the orchestra I found him to be a very charming and kindly person, self-effacing almost. Certainly not ego-driven, which might explain his low public profile. More a musician's musician than a prima donna! A bit like Handley, really ;o)
Excellent performance. No.2 recently was released on CD on Warner Classics - no sign of No.1 yet ....