# Weill - String Quartet op.8 (SQ review)



## Merl (Jul 28, 2016)

Kurt Weill’s 1st numbered String Quartet was composed in 1923 (when he was just 23) whilst Weill was under the tutelage of Busoni. Here Weill says goodbye to the Romanticism of his youth and heads into far more adventurous areas. His immature, earlier string quartet, in B minor, was a more romantic throwback but this quartet is a far more modern work. Busoni rated it highly enough to recommended it to his publishers upon hearing it.
The quartet was originally a four movement piece but the composer revised it, swapping out the “Introduktion” of two movements played attaca.
In the opening movement, the music of Schoenberg, Berg and Webern are a strong influence. Unlike Berg, though, Weill is far happier to hit some familiar ground of major chords to anchor things and returns to the F note to launch some phrases. The second movement is a quirky Scherzo that sounds nothing like the Beethoven or Brahms, he earlier revered but rather shows the influence of Mahler in its march trio. It dances and skips fitfully, in its own inimitable fashion, before giving way to the densely textured finale. The Choralphantasie finale is a homage to the counterpoint of Bach in an off-kilter way and the viola and cello later announce a "semi-fugal quasi-lament". Weill uses sul ponticello playing to produce a mysterious bee-swarm atmosphere and a prayer-like cello line introduces a later return to the chorale texture of the movement’s opening before the movement comes to a powerful ending, culminating in a 'happy' major chord.
It's an intriguing quartet and one I would have baulked at 5 years ago. It appeals to me because Weill keeps the narrative moving by a clever use of rhythm throughout and constantly shifting patterns. There's only a handful of recordings so here's my thoughts on them. Unfortunately, I didn't get to hear the Sequoia Quartet's 1984 recording but if I do I will add it in later.

The *Brodsky Quartet *are well recorded and structurally keep things tight, persuasive and more lyrical but for me lack a little of the requisite bite I want to hear here. All is perfectly good and recommendable but others have a greater sense of urgency. The *Leipziger* are a little quicker with tempi and produce their customary gorgeous, warm, rich tone, fluidity and perfect articulation. This is a fine recording in superb sound that's a clear and very easy recommendation above the Brodskys. Similarly, the *Vogler* Quartet are terrific too and are that little bit more mysterious and angular, which works even better, especially in the colourful delights of the finale, with its varied textures. However, the one recording I keep returning to is the *Brandis Quartet's* 90s account on Nimbus, who give the Brandis a strong, clear acoustic to work with and it's not just the sound that distinguishes this performance, either . Most people often associate Thomas Brandis and the Berliners with their beautifully played but quite reserved Schubert late quartets but here they are more forceful, fine in articulation and boldly dynamic, delivering a vibrant and persuasive performance which ticks all my boxes and is a marginal top choice, currently. Whatever recording you choose I doubt you'll feel short-changed by any of these quality recordings.


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