# Hartmann - String Quartet 1 'Carillon' (SQ review)



## Merl (Jul 28, 2016)

Born at the start of the century in Munich, Karl Hartmann grew up as a committed socialist. This was not as big a problem in earlier years but as the Nazi party rose to prominence Hartmann found himself more at odds with the party's stance on everything within and outside music. His 1st quartet and the orchestral work Miserae were the first works written by him after the Nazi party had come to power and It's fair to say he wasn't a fan of Hitler and co. Hartmann had written Miserae to protest the setting up of the first Nazi concentration camp, which opened in his neighboring village, Dachau, in March of 1933 and it was dedicated to "my friends, who must die one-hundred fold, who sleep for eternity--we will not forget you." . His defiant attitude to the Nazis took the form of quotations from Jewish music (which as you can imagine went down really well with the authorities)! In this climate his 1st Quartet is a rather emotional and agitated quartet. Friends called it the "Jewish Quartet" for its use of the melody 'Elijahu ha-nari. It's a compact work (usually lasting about 20 minutes) but is full of conflict and powerful emotions.
The first movement begins slowly and sadly with a yearning viola melody before the music expands and we're straight into a more troubled and angsty, eerie soundscape, where dynamics and open harmonies play a key role until a fast, strange folk-like dance finishes the movement. The 2nd, middle movement of the three, Con sordino, is a fine slower movement with some nice harmonic chord progressions over a rather sparse and intensely grave atmosphere. A falling figure permeates the movement all over drone-like harmonies. The 3rd movement, con tutta forza, demands greater power and is violent and angry, in character, with its idiosyncratic melody and brisk, dissonant ending.
Incidentally, his 1st Quartet, although condemned by the Nazis (like his other music) was awarded a prize in Geneva in 1935 and played to acclaim in London in 1938. In fact, most of his works were first heard outside Germany as he had voluntarily withdrew from music in Germany during the Nazi era and refused to allow his works to be played there. The performing of his works outside Germany and his relationships with other composers and musicians in Europe led to constant surveillance by the Nazi music police (headed by Strauss). Between 1933 and 1945, Hartmann often appeared at International events and festivals, declaring himself as independent from the Third Reich. The Prague premiere of his 1st quartet resulted in a direct confrontation with the National Socialist authorities (but Hartmann luckily had a few influential friends). Hartmann said of this quartet...
"Then came the year 1933, with its misery and hopelessness, [and] with it, that which must needs have developed logically from the idea of despotism, the most horrible of all crimes--the war. In that year, I recognized that it was necessary to make a statement, not out of despair and anxiety in the face of that power, but as an act of protest...
During this period, I wrote my first String Quartet, the symphonic poem "MISERAE" and my first symphony with the words of Walt Whitman, "I sit and look out upon all the sorrows of the world, and upon all oppression and shame." "
There's a handful of impressive recordings to go at so I'll sum them all up underneath. This impressive music, for me, demands a highly charged emotional recording and this is reflected below. Suffice to say that you're unlikely to get a turkey of a recording of this quartet.

Recommended

Doelen - considering this is a 2009 recording I'm not impressed by the uneven soundstage at all. Others (below) play with better intonation, too.

*Well recommended

Pelligrini* - this was my least favourite of all the recordings here at first but gradually the Pellegrini's leaner, brisker approach started to resonate with me
*Vogler* - the closer, drier acoustic and limited use of vibrato give this recording a darker, sparser and more melancholic feel but that's no bad thing. Intense.
*Airis* - if you want a slower, fuller approach than the Vogler then the well-recorded Airis account may be the one for you. Initially this was my favourite runner-up but I now view it as the equal of those above.

*Top Pick

Zehetmair* - this animated, full-bloodied performance has everything I am looking for in this quartet. The dynamic shadings, wonderful articulation and sheer power of the Zehetmair attacks impress immediately and repeated listens reveal a real depth of interpretation that is especially powerful in the outer movements. Huge intensity and emotion enveloped in excellent musicianship.


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