The Telegraph Quartet makes their Azica Records debut, In this first installment we have two works that, as far as can be determined, have never been recorded together. They are equally unlikely to have appeared together on the same mainstream live concert program. Ravel's only string quartet is often paired with Debussy's only string quartet particularly to showcase their shared lineage of French Impressionism, and that Ravel's design was strongly influenced by Debussy's. Schoenberg's first numbered quartet is most often programmed within the cycle of his own radically evolving quartets, or with the work of the larger "Second Viennese School", perhaps even the quartets of his only teacher Anton Zemlinsky. Here, in a striking setting, two of the greatest 20th century composers share the program with two distinctively different masterworks that have a nearly identical chronology. Born one year apart (Schoenberg in 1874, Ravel in 1875), these contemporaries composed, premiered and published their quartets between 1902 and 1907 (Ravel first, then Schoenberg). 1904 saw the premiere of Ravel's quartet just as Schoenberg began to compose his. This synchronicity in the first decade of the 20th century makes this pairing an extraordinary snapshot of the avant- garde: A time capsule. The juxtaposition is a marvelous invitation for comparison and contrast. It presents two significantly divergent "schools" that nonetheless share some interesting traits. The history, temperament, life story and lasting influence of each composer portray them as wildly different, like two different musical species. But together, their quartets paint a vivid portrait of a shared moment within the long history of the string quartet genre
The Telegraph Quartet makes their Azica Records debut, In this first installment we have two works that, as far as can be determined, have never been recorded together. They are equally unlikely to have appeared together on the same mainstream live concert program. Ravel's only string quartet is often paired with Debussy's only string quartet particularly to showcase their shared lineage of French Impressionism, and that Ravel's design was strongly influenced by Debussy's. Schoenberg's first numbered quartet is most often programmed within the cycle of his own radically evolving quartets, or with the work of the larger "Second Viennese School", perhaps even the quartets of his only teacher Anton Zemlinsky. Here, in a striking setting, two of the greatest 20th century composers share the program with two distinctively different masterworks that have a nearly identical chronology. Born one year apart (Schoenberg in 1874, Ravel in 1875), these contemporaries composed, premiered and published their quartets between 1902 and 1907 (Ravel first, then Schoenberg). 1904 saw the premiere of Ravel's quartet just as Schoenberg began to compose his. This synchronicity in the first decade of the 20th century makes this pairing an extraordinary snapshot of the avant- garde: A time capsule. The juxtaposition is a marvelous invitation for comparison and contrast. It presents two significantly divergent "schools" that nonetheless share some interesting traits. The history, temperament, life story and lasting influence of each composer portray them as wildly different, like two different musical species. But together, their quartets paint a vivid portrait of a shared moment within the long history of the string quartet genre
