GRAMOPHONE Magazine Editor's Choice - October 2015.The Artemis Quartet pairs Brahms’ intense first quartet with his lighter-spirited third quartet, both works that the Artemis’ cellist, Eckart Runge, describes as “remarkable and multi-faceted”. He says that “Brahms marries a Romantic spirit with the structure and forms of Classicism. There is an almost symphonic approach in the writing, but at the same time the quartets are imbued with a sense of warmth, immediacy, friendship and love that is interwoven with a more spiritual, timeless beauty”.
EMI Classics pianist Leif Ove Andsnes and Virgin Classics' string quartet, the Artemis, have joined their formidable musical forces to record two of the most beautiful piano quintets of the Romantic chamber music repertoire. Their collaboration makes for what will certainly be considered a landmark recording, bringing a new vigour to these well-known masterpieces. The programme couples 2 major piano quintets by Brahms and Schumann. Brahms' Piano Quintet in F minor Op.34 is the composer's only piano quintet and is considered one of his finest compositions. The work began life as a string quintet, later evolving into a sonata for two pianos, before taking its final form in 1866. Of Schumann's Piano Quintet in E Op 44, Clara Schumann, who premiered it said: "A glorious piece, extremely brilliant and effective. Schumann's sole composition for piano quintet was composed in 1842, a year practically devoted to the composition of chamber works for piano and strings.
Annalist surprised the prog audience, when they released a sophomore album less than a year after their debut.There were no line-up shakes or style liftings, but the important fact was that they had signed with Mieczyslaw Stoch's rising Ars Mundi label, the one that would become one of the major distributors of Polish Prog worldwide, ''Artemis'' being only the second work in the label's catalog…
Brahms & Schumann: Lieder sees Dame Ann Murray, one of the great vocal artists of the past decades, return to the recording studio to perform a personal selection of Lieder. Brahms & Schumann: Lieder, Ann’s first solo album in over a decade, will be her final Lieder recording and a fitting way to draw her long and distinguished recording career to a close.
After titanic contributions to the cello sonata repertoire by Ludwig van Beethoven, few notable additions were made for several decades. Not until 1862 did the cello sonata re-emerge in the hands of Johannes Brahms. His peculiar First Sonata contains only three movements (the Adagio having been omitted for fear of the sonata being too lengthy) and a finale that all but defies formal analysis. Almost a quarter century passed before Brahms again returned to the cello sonata, this time in the key of F major. The second sonata is considerably more challenging for cellists and Brahms' treatment of the instrument is not the exclusively lyrical, sonorous melodies that one might expect. Rather, Brahms incorporates lots of rhythmic, motivic playing and pizzicato passages and rapid bariolage. A "third" cello sonata, which has become increasingly popular in recent years, is Paul Klengel's (whose cello-playing father was much admired by Brahms) transcription of the G major Violin Sonata.