Utwory na płycie:

• String Quartet Nr 1- Op 4 (1896) - Allegro con fuoco - Im Tempo- doch sehr ruhig - Poco meno - Moderato
• String Quartet Nr 1- Op 4 (1896) - Allegretto - Tempo di Allegretto
• String Quartet Nr 1- Op 4 (1896) - Breit und kräftig - Adagio
• String Quartet Nr 1- Op 4 (1896) - Vivace e con fuoco - Ruhiger - [ ] - Ruhiger - [ ]
• String Quartet Nr 2- Op 15 (1913-15) - Sehr mäßig (quasi Andante) - Heftig und leidenschaftlich (Moderato) -
• String Quartet Nr 2- Op 15 (1913-15) - Andante mosso - Etwas rascher (Allegretto) - Tempo I - Andante (nicht schleppend) -
• String Quartet Nr 2- Op 15 (1913-15) - Adagio - Ungemein ruhig - Steigernd - Noch langsamer -
• String Quartet Nr 2- Op 15 (1913-15) - Schnell (die Achtel) -
• String Quartet Nr 2- Op 15 (1913-15) - Im selben Tempo- doch sehr ruhig - Tempo (molto
• String Quartet Nr 2- Op 15 (1913-15) - Mit energischer Entschlossenheit (Allegro moderato) - Andante (nicht schleppend) -
• String Quartet Nr 2- Op 15 (1913-15) - Tempo I (molto Allegro) - Ruhig - Tempo I (frisch
• String Quartet Nr 2- Op 15 (1913-15) - Andante (Etwas fließender- als vorher) - Noch langsamer
• String Quartet Nr 3- Op 19 (1924) - Allegretto (Tempo I) Gemächlich- innig bewegt -
• String Quartet Nr 3- Op 19 (1924) - Thema mit Variationen
• String Quartet Nr 3- Op 19 (1924) - Romanze Sehr mäßige Achtel (Andante sostenuto) - Steigernd -
• String Quartet Nr 3- Op 19 (1924) - Burleske Sehr lebhaft (Allegro moderato) - Ganz leise ohne Steigerung -
• String Quartet Nr 4- Op 25 (1936) - Präludium Poco Adagio - Più Adagio - Poco meno Adagio
• String Quartet Nr 4- Op 25 (1936) - Burleske Vivace (Sehr lebhaft) - [ ] - Tempo I - Presto -
• String Quartet Nr 4- Op 25 (1936) - Adagietto Adagio -
• String Quartet Nr 4- Op 25 (1936) - Intermezzo Allegretto - Sehr belebt (Animato)
• String Quartet Nr 4- Op 25 (1936) - Thema mit Variationen (Barcarole)
• String Quartet Nr 4- Op 25 (1936) - Finale Doppelfuge Allegro molto- energico -
• String Quartet (c 1893) - Allegro moderato
• String Quartet (c 1893) - Scherzo Allegro scherzando - Intermezzo - Scherzo D C al Fine
• String Quartet (c 1893) - Andante - Poco più mosso e ben marcato - Tranquillo - Adagio
• String Quartet (c 1893) - Allegro con brio - [ ] - Tempo I - [ ] - Tempo I

String Quartet in E minor (premiere recording)
No. 1 in A major, Op. 4
No. 2, Op. 15
No. 3, Op. 19
No. 4, Op. 25 (Suite)

In this recording of the complete String Quartets by Zemlinsky, which includes a premiere recording, the Brodsky Quartet gives fresh life to the composer’s works, ‘with a spirit so transformational you felt they were actually improving the world’, as reported by The Strad after a recent concert performance. The four string quartets which Zemlinsky published represent a journey through his musical thought. It starts with the Brahmsian, youthful Quartet in A major, Op. 4 which is generously proportioned and less earnest in mood than some earlier works. Then the Second Quartet, Op. 15 echoes the composer’s years of emotional crisis. The booklet essay explains the symbolism which Zemlinsky deployed in the score, evoking the compromising relationship between his sister Mathilde and his friend Schoenberg, as well as his own disillusioned love affair with Alma Schindler. Contrastingly, the Third Quartet, Op. 19 appears to be a sarcastic protest against modernism, in which Zemlinsky exploits a minimum of material to maximum effect, the entire fabric evolving from the intervals and rhythms of the opening theme. Having been blacklisted by the Nazi campaign against ‘degenerate’ art, the Fourth Quartet, Op. 25 achieved its first public performance in 1967, thirty years after its composition. It deploys a wealth of thematic ideas in a process of continual variation and metamorphosis that follows the outlines of sonata form. The String Quartet in E minor failed to pass its trial at the Viennese Tonkünstlerverein when it was first presented in 1893. It was not published until 1997 and appears here on disc for the first time. The opening movement spins a sophisticated net of motivic relationships, harmonic ambiguities, and metrical irregularities. From the simplicity and melodic charm of the Andante and scherzo to the energetic and inventive finale, the quartet is a remarkable legacy of Zemlinsky’s early command of string texture.