Chaconnes and Fantasias

Emerson String Quartet
Int. Release 05 May. 2017
1 CD / Download

Track List

Henry Purcell (1659 - 1695)
Benjamin Britten (1913 - 1976)
String Quartet No.2 in C, Op.36

Henry Purcell (1659 - 1695)
Benjamin Britten (1913 - 1976)
String Quartet No.3, Op.94


Emerson String Quartet

Total Playing Time: 1:13:41

The Emerson Quartet moves effortlessly across the centuries to achieve a unity in the related if stylistically different works by two great English composers . . . [the album] is consistent with their high standards.

. . . a calm reflection on the art of part writing from the last great moment of English polyphony . . . The cello of new member Paul Watkins stands out for its ability to summon something of Purcell's magnificent melancholy . . . these performances will not disappoint . . . Technical dazzle asserts itself and then recedes to brooding whispers . . . the newly-reconstituted ensemble has lost nothing in the way of cogency and technical address . . . a very fine recital . . . Altogether a first-rate recording.

. . . [the Purcell works are] thoughtful and appropriate companion pieces . . . [Britten / String Quartet no. 2]: The Emerson musicians play with their usual impeccable intonation and beauty of sound and bring special artistry to the cadenzas . . . [Britten / String Quartet no. 3]: a superb performance superb in every respect . . . [the Emerson String Quartet] remains the gold standard for string quartets.

. . . a terrific performance of Britten's String Quartet No.2 . . . Another immensely satisfying performance, this time of Britten's String Quartet No.3 in G Major, Op.94, a fascinating and highly personal work written in late 1975 just a year before his death, completes an outstanding disc.

Mit dieser ersten Aufnahme mit dem 2013 zum Quartett gestoßenen Cellisten Paul Watkins feiert das Emerson String Quartet vor allem die Unbestechlichkeit seiner eigenen Aufführungspraxis.

Il reste que les Emerson c'est, depuis quarante ans, une constante lecon de qualité et d'engagement . . . unissons immaculés, netteté rythmique laissant une place juste à la danse et à la souplesse des impulsions (Vivace de l'Opus 36), sens des contrastes, palette dynamique exceptionnelle (quels pianissimos!) . . . [l'immense Chacony finale du Quatuor no. 2] est superbement conduite de bout en bout . . . A ce niveau de réalisation et de plaisir sonore, on n'est plus confronté qu'à des questions de goût personnel.