A pupil of Tchaikovsky, whom he replaced at the Moscow Conservatory, Sergey Taneyev was a virtuoso pianist and a teacher of Scriabin and Rachmaninov. Although as a composer Taneyev is best known today for his four symphonies, he also composed a sizeable body of chamber music, including six String Quartets. These beautifully crafted works are marked by technical assurance at every turn, as well as dramatic inspiration and intense lyricism. The masterly five-movement Quartet No. 1, in fact Taneyev’s Fifth, includes two notable slow movements, while the lighter Quartet No. 3 features a graceful theme with eight variations, alternately playful and contemplative.
A pupil of Tchaikovsky, who called him the ‘Russian Bach’, Sergey Taneyev is best known today for his four symphonies, although he also composed a sizeable body of chamber music, including nine complete String Quartets. Quartet No. 9 is a memorably melodic work, while the beautifully crafted Quartet No. 6, his last completed quartet, is rather more austere, though marked by a playful Jig, and even more masterful in construction.
Two chamber masterpieces from nineteenth-century Russia, performed by Piers Lane and the Goldner String Quartet. Taneyev has been known as the ‘Russian Brahms’ and this epithet is particularly apposite when considering his Piano Quintet in G minor, especially as regards both its instrumental writing and its intellectual passion. Composed in 1911, this massive work bids fair for the accolade of the greatest work in the Russian piano-chamber repertoire before Shostakovich’s Piano Quintet of 1940. Only the extravagance of its technical demands can explain its failure to establish itself in the standard repertoire.
This French group was founded on the Riviera (Nice more precisely) as had SHYLOCK also. They both managed to make two albums both on the Musea catalogue nowadays. However they do sound different, CARPE DIEM sounding more diversified and also holds some singing, as well as some wind instruments (flute & saxes)…
For fans of Sergey Taneyev, the so-called Russian Brahms, the re-issue of the Taneyev Quartets recordings of the nine string quartets of their namesake in 2005 was cause for celebrating. Taped in the late Seventies, their recordings were only intermittently available in what was then called the West, and their re-release restored to the catalogue performances which could well be considered definitive.
The Brodsky Quartet presents this second volume in its exploration of Brahms’s complete string quartets. The first, which also featured the Clarinet Quintet with Michael Collins, received numerous enthusiastic reviews, The Guardian praising the players for their ‘immaculate’ performance. The String Quartet, Op. 51 No. 1, featured here, was written alongside its contrasting companion, Op. 51 No. 2. Both were finally published in 1873 after having been held back for years by a typically self-doubting Brahms, until he had brought them to his own high standards of perfection.