London String Quartet - Schubert: Death and the Maiden скачать в хорошем качестве

London String Quartet - Schubert: Death and the Maiden

I think the 3rd time's the "charm." 1. Allegro 2. Andante con moto 12:38 3. Scherzo Allegro molto 21:23 4. Presto 24:49 Recorded in 1925. Members: 1st: Violin: James Levey, 2nd Violin: Thomas Petre, Viola: H. Waldo Warner, Cello: C. Warwick-Evans Found at The AHRC Research Centre for the History and Analysis of Recorded Music (CHARM) which was established on 1 April 2004, supported by a 5-year grant of just under £1m from the Arts and Humanities Research Council. The London String Quartet was founded in London in 1908 and remained one of the leading English chamber groups into the 1930s, and made several well-known recordings. The viola player and composer Harry Waldo Warner (1874–1945) had trained at the London Guildhall School of Music under Alfred Gibson and Orlando Morgan. After giving some violin recitals he concentrated on viola. Charles Warwick Evans (1885-1974) studied for 6 years at the Royal College of Music and became principal cello in the Beecham Opera Company, then leading cello in the Queen's Hall Orchestra. He resigned that post to devote himself to the String Quartet. In 1908 Warwick-Evans was leader of the Queen's Hall violoncellos and Waldo Warner was first viola in the New Symphony Orchestra. Warwick-Evans formed the idea of a string quartet worked up to the standard of a solo virtuoso, and approached Waldo Warner. He was enthusiastic, and then Petre was found and finally Albert Sammons, the new Concertmaster of Thomas Beecham's orchestra, to lead the quartet. They rehearsed four times a week for nearly two years before giving their first concert. There was to be no 'boss': if anyone disagreed with tempo or phrasing he spoke out, the point was discussed, and the decision made if necessary by voting. The first concert was on January 26, 1910, at Bechstein (Wigmore) Hall, as the 'New' Quartet, playing Dohnanyi in D flat, Tchaikovsky in D, and a Fantasy Quartet (No. i) of Waldo Warner's. Reviews were excellent: the second concert was in June 1910, of Debussy in G minor, Beethoven Op. 59 no. 1, and a Fantasy of Balfour Gardiner's. Warwick-Evans suggested the name 'London String Quartet' and in 1911 it was adopted. At the outbreak of war, 1914, Warwick-Evans and Waldo Warner could not serve for health reasons. Petre served in France and his place was taken successively by Wynn Reeves, Herbert Kinsey, and Edwin Virgo. Albert Sammons, meanwhile, was building a solo career and had less time for essential rehearsals. In May 1915 the quartet began to give chamber music 'Pops', much liked in wartime London. By May 1917 they had given 50, and at about that time Sammons left and was replaced (July 1917) by James Levey, a pupil of Ferdinand Hill's. The last of these concerts, the 117th, was on July 14, 1919. In 1920 the suggestion was made that they should perform a one-week cycle of the complete Beethoven quartets, and this was done first in Edinburgh, then in London, then Stockholm, Christiania, and variously in America, in all ten cycles including three in London. In September 1920 they were introduced to America by Mrs Elizabeth Sprague Coolidge at Pittsburgh, playing Frank Bridge's E minor (Bologna) Quartet, Beethoven in E minor, and Waldo Warner's Folk-song Fantasy. In addition to a great number of concerts in London and England they undertook many international tours, notably to America, France, Portugal, Spain (twice), Scandinavia (thrice), Germany and Canada. From November 1922 to April 1924 they conducted a world-tour. Their prestige in America, North and South, was very considerable, and they traveled from Canada to Buenos Aires, performing much new music as well as Beethoven quartet cycles. By the late 1920s they had introduced around one hundred new pieces of music to the repertory. Their disbanding, in November 1934, was prompted by John Pennington having been appointed to the concertmaster's chair in San Francisco. The quartet was one of the most important international groups of its time. Numerous premieres, Beethoven cycles, widespread concertizing, and eminent recordings marked out its trajectory. The 'live' Library of Congress recordings demonstrate its most vital, sensitive and convincing musicianship in ways that even its studio discs occasionally fail to show. They provide irrefutable evidence that the quartet was one of the very greatest of its time.