Utwory na płycie:

• String Quartet No. 1 in A Minor, Op. 60 - I. Allegro moderato
• String Quartet No. 1 in A Minor, Op. 60 - II. Langsam
• String Quartet No. 1 in A Minor, Op. 60 - III. Scherzo
• String Quartet No. 1 in A Minor, Op. 60 - IV. Allegro
• String Quartet No. 2 in F Major, Op. 61 - I. Allegro
• String Quartet No. 2 in F Major, Op. 61 - II. Scherzo
• String Quartet No. 2 in F Major, Op. 61 - III. Adagio
• String Quartet No. 2 in F Major, Op. 61 - IV. Vivace
• String Quartet No. 3 in E Minor - I. Lento
• String Quartet No. 3 in E Minor - II. Andante
• String Quartet No. 3 in E Minor - III. Andante sostenuto
• String Quartet No. 3 in E Minor - IV. Tarantella. Allegro molto
• String Quintet in F flat Minor, Op. 63 - I. Adagio - Allegro
• String Quintet in F flat Minor, Op. 63 - II. Andante cantabile
• String Quintet in F flat Minor, Op. 63 - III. Menuetto. Allegretto - Trio
• String Quintet in F flat Minor, Op. 63 - IV. Allegro molto

CD 1:
String Quartet No. 1 in A Minor, Op. 60
String Quartet No. 2 in F Major, Op. 61

CD 2:
String Quartet No. 3 in E Minor, Op. 67
String Quintet in F flat Minor, Op. 63

“Analysis obviously cannot seize the essence. […] If my music has meaning, it does not lie in the musical material itself, but beneath it: in the artistic approach and its relationship with my world view.” (Walter Braunfels).

Walter Braunfels wrote his first two string quartets in 1944; they were followed after the war by the String Quintet (1946/47), the Third String Quartet (1946/47), and the new Final Movement composed for the latter (1953). All these works meet the highest standards in terms of transparent voice leading, closely knit polyphony, and boldly expanded tonal harmony. In 1933 he was dismissed from all posts, regardless of his merits, because he was half Jewish. Braunfels was restored to his post of director at Cologne Conservatory in 1945. . Braunfels was swimming against the tide: profoundly rooted in the Classical-Romantic tradition, his style was deemed inconvenient in the face of prevalent postmodern tendencies in the first years after the war.

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Recording: Deutschlandfunk Kammermusiksaal Cologne/ Germany; Quartet No. 1 (XII 2019 & III 2020); Quartet No. 2 (XII 2018 & XII 2019); Quartet No. 3 (III 2020); Quintet (XII 2019 & VI 2021). Jens Peter Maintz plays the ‚Ex-Servais‘ cello made in 1697.