You have to know how to pick 'em. String quartets transcribed for string orchestra aren't exactly the rarity they used to be, either on disc or in concert, but most of them (starting with Mahler) focus on the chestnuts of the classical period, Beethoven and Schubert in particular. However interesting these efforts may be, on disc there's little reason to sacrifice the intimacy of the originals for the cruder contrasts and weight of tone of the larger ensemble. Here we have something different.
Artistic Quality 10/10 Sound Quality - ClassicsToday.com
Richard Tognetti has selected three works, two of which (the Szymanowski and the Janácek) are cornerstones of the modern quartet repertoire, while Nazi victim Pavel Haas' Second String Quartet, clearly influenced by Janácek, certainly sits easily in their exalted company. Szymanowski's lush textures, the plentiful use of coloristic devices in the other two works, and the characterful exploitation of big dynamic contrasts generally mark these pieces as ripe for transcription, and they sound marvelous here. Tognetti wisely leaves to solo strings those moments (such as the openings of the first and third movements of the Janácek) that require generous rubato and that otherwise would sound stiff when played en masse. That said, he leads stirring and passionate performances of all three works, and his efforts should make new friends for the Haas (though I do wish he had included the optional jazz percussion parts in the finale).
The playing of the Australian Chamber Orchestra leaves absolutely nothing to be desired. They attack the music with rapturous tone in the many high-lying passages so beloved of Szymanowski, and make of the most of those wild ponticello eruptions in the second movement of the Janácek. Chandos also gives the musicians a big, bold, rich sonic ambience in which to operate. At every level, this musical experiment must be accounted a total success, and more to the point, an audible joy from first note to last.
--David Hurwitz, ClassicsToday.com
The playing of the Australian Chamber Orchestra leaves absolutely nothing to be desired. They attack the music with rapturous tone in the many high-lying passages so beloved of Szymanowski, and make of the most of those wild ponticello eruptions in the second movement of the Janácek. Chandos also gives the musicians a big, bold, rich sonic ambience in which to operate. At every level, this musical experiment must be accounted a total success, and more to the point, an audible joy from first note to last.
--David Hurwitz, ClassicsToday.com
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