User:Silence of Järvenpää/Work (q): Difference between revisions

 

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|32:21<!–Digital times, per FHR website, add mvts.; 7:19, 2:44, 9:12, 7:17, 5:49–>

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|[[First Hand Records|First Hand]]

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|{{center|{{efn|[https://firsthandrecords.com/products-page/album/early-stereo-recordings-6-sibelius/ Pascal–First Hand (FHR85) 2024]}}}}

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|[[Arktos Recordings]]

|Arktos Recordings

|{{center|{{efn|[https://www.discogs.com/Beau-Quartet-String-Quartets-By-Jean-Sibelius-And-Carl-Nielsen/release/17912281 Beau–Arktos Recordings (ARK98028) 1998]}}}}

|{{center|{{efn|[https://www.discogs.com/Beau-Quartet-String-Quartets-By-Jean-Sibelius-And-Carl-Nielsen/release/17912281 Beau–Arktos Recordings (ARK98028) 1998]}}}}

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The String Quartet in D minor, Voces intimae (lit. ‘Intimate voices‘ or ‘Internal voices‘), Op. 56, is a five-movement composition for string quartet written from 1908 to 1909 by the Finnish composer Jean Sibelius. The piece, which the composer characterized as “something wonderful … the kind of thing that brings a smile to your lips at the hour of death”, premiered at the Music Institute in Helsinki on 25 April 1910, with Viktor Nováček [de] and Sulo Hurstinen [fi] on violin, Carl Lindelöf [fi] on viola, and Bror Persfelt [sv] on cello. The critics praised Sibelius, who was not in attendance, for… .

Stylistically, Voces intimae quartet forms a “link” between the classicism of the Third Symphony (1907) and the expressionism of the Fourth (1911), the two major works between which it was composed. Like the latter, it is “dark [and] uncompromising, often introspective”, similar to the “anguished” incidental music Ödlan (The Lizard), which Sibelius began writing shortly after completing the quartet. (In 1908, Sibelius had just survived a surgery for throat tumors, an experience that left him not only mindful of his own mortality, but also begrudgingly abstemious of alcohol and tobacco.)

Although during his student years Sibelius composed many pieces for string quartet, Voces intimae—chronologically, the last of his four quartets, having been preceded by those in E-flat major (JS 184, 1885), A minor (JS 183, 1889), and B-flat major (Op. 4, 1890)—is the only

piece for this ensemble type that dates to his mature period.

• In April 1908, Sibelius had finished Swanwhite and was busy conducting it.
• In May 1908, however, Sibelius was diagnosed with a benign tumor in his larynx.
  • Around 21 May, a throat operation in Helsinki with a specialist; “presumably it was exploratory and a sample of the tumour was taken”.
  • Sibelius advised to go to Berlin to see a renowned specialist: Professor Dr. Fränkel, “whose reputation at the time was second to none”.
  • Sibelius, always in debt, lacked the money to go, and “his usual sources of funds had learned of his ill-health and the rumours that he was doomed were rife. For them it was no longer worthwhile to lend him money and many turned their backs on him”.
  • Arrives in Berlin at the end of May; the Dr. forbids him to use alcohol and tobacco. “Life is something totally different without these stimulants. I never imagined it could have come to this”.
  • There was concern that the benign tumor, if not removed, could eventually become malignant.
  • Fränkel, then quite old, made 13 abortive attempts to remove the tumor, but was unsuccessful. “Finally he sent for a young assistant, who in his turn continued the attempts until finally there was a triumphant cry and the offending growth was cut out. No doctor could have made a 100 percent prognosis for his future progress, and for the next few years Sibelius lived in a danger zone”.
  • Spooked by the possibility of an early death, Sibelius stayed away from alcohol and tobacco for the next seven years (1908–1915) and he “redoubled his activity”; over this time he wrote many of his most important works: VI, Symphony No. 4, the first draft of Symphony No. 5, The Barb, Luonnotar, and The Oceanides.
  • He was, as a result of the operation, unable to speak until the middle of July.
• Began composing VI in Helsinki in November 1908
  • Had just completed the tone poem Nighride and Sunrise that month; he immediately sent it to Alexander Siloti in St. Petersburg, and it premiered to poor reviews at the beginning of the year.
  • In September 1908, Aino gave birth to Margaretha.
• Write to Carnelian on 8 December 1908: “My debts are frightening … I have keen hypochondriac twinges. The next week, he tells Carnelian in a second letter about his daughters: “I have just been to see my two tallest, Kan and Margaretha. They were asleep. Life is before them. This wonderful life that one loves and yet that is so difficult to live”.
• 24 December 1908 writes to Line promising him “imminent delivery” of the new quartet.
• 13 February 1909 Sibelius conducts En saga and Finlandia at sold out Queen’s Hall in London, which forced him to temporarily put VI aside.
  • Stays in London for a while… Meets with Granville Bantock, Rosa Newmarch, Henry Wood
  • Arnold Bax describes Sibelius as follows: “Sibelius gave one the notion that he had never laughed in his life, and never could. That strong taut frame, those cold steel-blue eyes and hard-lipped mouth, were those of a Viking raider, insensible to scruple, tenderness or humour of any sort. An arresting, formidable-looking fellow, born of dark rock and northern forest …”
  • Continues composing VI in February while in London, despite developing a “hypochondriac cough” due to the London fog. Takes up the second and third movements (well advanced by the 25th) … moves into private house in Gloucester Walk. Sounds of a “damned Englishwoman” butchering Moonlight Sonata drove Sibelius out, and he re-settled in a new flag at Gordon Place in Kensington.
• April finds him in Paris in the company of René d’Avesac de Castera [fr], whom he had met in London. “Why am I running away from the quartet”, Sibelius writes in hid diary on 1 April 1909.
  • Perhaps he tied to work on the quartet a bit while in Paris while staying in an economy flat. His old friend Gallén was in Paris at the same time, albeit going through creative drought.
• Soon flees to Berlin due to renewed fears about the throat, but Fränkel put his fears to rest. This spirits buoyed, his returns to working on the quartet while in Berlin in mid-April … on 15 April he writes in his diary: “The quartet is finished. Yes—my heart bleeds—why this sense of pain in life … That I even exist! My God! Four pairs of children’s eyes and a wife’s stare at me, virtually a pauper … At least I’ve composed well”.

• Uusi Suometar review (E. K. = Evert Katila [fi])
• Helsingin Sanomat review (W. = ?)
• Hufvudstadsbladet review (Bis = Karl Fredrik Wasenius [fi])
  • Sibelius’ nya stråkkvartett “Voces intimae” bildade programmets slutnummer. Såsom af rubriken framgår ställer musiken stora pretentioner på samspelet, ett sammangående af stämmorna, en konformitet af uttryck inom en rik skala af ömtåilga nyanser, betoningar, fraser. Redan den yttre ensemblen fordrar mycket af de exekverande. Om också ej allt kom fram som sig bort, måste dock sägas, att institutets stråkkvartett i hufvudsak presterade ett godt samspel. Är musiken svår att utföra så är den ej mindre svår att förstå. Då man slår upp partituret, frapperas man af den äkta kvartettstilen. Men man duperas betydligt af denna klara stämföring. Den utförda kompositionen företer nämligen en inbundenhet till innehåll som icke kan dechiffreras vid ett första åhörande. Detta gäller i all synnerhet de tvä första satserna. Man får till en början nöjas med att beundra det kontrapunktiska arbetet, bakom hvars mästerliga och fina detaljer döljer sig en värid af tankar och ingifvelser, som blott glimtvis låta oss ana musikens innebörd. I Adagiot trädde dock en ohöljdt skön värld åhöraren till möte. Äfven det följande Allegrettot och slutallegrot fjättrade uppmärksamheten starkt, men man stod i alla fall inför en musik, som icke bjuder ut sig, utan hvars geniala innebörd man endast långsamt skall kunna fullt förstå och uppskatta. Man hoppas lifligt att få återhöra kvartetten äfven här hemma, så att et kontinenten genom Böhmiska kvartetten hinner oss i förväg i bekantskap med detta underbara verk af vår främste mästare, som också på kammarmisikens område går sin egen stora kungsväg.
  • Sibelius’ new string quartet “Voces intimae” formed the final number of the program. As the title suggests, the music places great demands on the interplay, a coherence of the voices, a conformity of expression within a rich scale of tender nuances, emphases, phrases. Even the external ensemble demands a lot from the performers. Even if not everything came out as it should, it must be said, however, that the institute’s string quartet mainly performed a good interplay. If the music is difficult to perform, it is no less difficult to understand. When you open the score, you are struck by the genuine quartet style. But one is significantly duped by this clear intonation. Namely, the performed composition conveys an attachment to content that cannot be deciphered on a first hearing. This applies in particular to the first two sentences. At first, one has to be content with admiring the contrapuntal work, behind whose masterly and fine details hide a wealth of thoughts and inspirations, which only give us a glimpse of the meaning of the music. In Adagiot, however, the listener was met by an unmasked, beautiful world. The following Allegretto and final Allegro also held the attention strongly, but in any case, one was faced with music that does not offer itself, but whose genius meaning one can only slowly fully understand and appreciate. It is fervently hoped to be able to hear the quartet again here at home, so that through the Bohemian Quartet, the continent can get to know this wonderful work of our foremost master in advance, which also in the field of chamber music follows his own great royal path.

The D minor quartet is in five movements, with the first proceeding immediately into the second. The third movement—the work’s slow, emotional anchor—is the longest in duration. The movements are as follows:

Robert Lienau published the quartet in 1909.

The Budapest String Quartet made the world premiere studio recording of the String Quartet in D minor on 8 August 1933, which appeared on Volume 3 of HVM’s The Sibelius Society series (DB.2317/23, 1935).

No.	Quartet	Violin I	Violin II	Viola	Cello	Runtime[a]	Rec.[b]	Recording venue	Label	Ref.
1	Budapest (1)	Josef Roisman (1)	Alexander Schneider (1)	István Ipolyi	Mischa Schneider (1)	26:56	1933	Beethovensaal, Alte Philharmonie Berlin [de]	Warner Classics
2	Griller	Sidney Griller	Jack O’Brien	Philip Burton	Colin Hampton	36:03	1950	Decca Studios	Decca
3	Budapest (2)	Josef Roisman (2)	Alexander Schneider (2)	Boris Kroyt	Mischa Schneider (2)	28:22	1955	Coolidge Auditorium	Urania	Cite error: There are <ref> tags on this page without content in them (see the help page).
4	Pascal	Jacques Dumont	Maurice Crut	Léon Pascal	Robert Salles	32:21	c. 1957	?	First Hand
5	Borodin	Rostislav Dubinsky [ru]	Yaroslav Alexandrov [ru]	Dmitri Shebalin [ru]	Valentin Berlinsky	?	c. 1959	?	Melodiya
6	Claremont	Marc Gottlieb	Vladimir Weisman	Scott Nickrenz	Irving Klein	27:37	c. 1966	?	Nonesuch
7	Lansdowne	Jack Rothstein	Antony Gilbert	Kenneth Essex	Charles Tunnell	?	c. 1967	?	His Master’s Voice
8	Finlandia [fi]	Olavi Pälli [fi]	Jussi Pesonen	Esa Kamu	Heikki Rautasalo [fi]	?	1970	Finnvox Studios	His Master’s Voice
9	Voces Intimae [fi]	Ari Angervo	Jorma Rahkonen [fi]	Mauri Pietikäinen [fi]	Veikko Höylä [fi]	31:04	1974	Vik Castle	BIS
10	Copenhagen	Tutter Givskov	Mogens Lydolph	Mogens Bruun	Asger Lund-Christiansen	32:28	c. 1975	?	Turnabout
11	Fitzwilliam	Christopher Rowland	Janathan Sparey	Alan George	Ioan Davies	32:57	1978	Snape Maltings Concert Hall	Decca
12	Sibelius Academy	Seppo Tukiainen [fi]	Erkki Kantola [fi]	Veikko Kosonen	Arto Noras	28:14	1980	Sibelius Academy Concert Hall	Finlandia
13	Guarneri	Arnold Steinhardt	John Dalley	Michael Tree	David Soyer	28:47	1989	[Unknown venue], New York	Philips
14	Gabrieli	John Georgiadis	Brendan O’Reilly	Ian Jewel	Keith Harvey	34:13	1989	Snape Maltings Concert Hall	Chandos
15	Fresk [sv]	Lars Fresk [sv]	Hans-Erik Westberg	Lars-Gunnar Bodin	Per-Göran Skytt	30:10	1989	Studio 2, Swedish Radio	Bluebell [sv]
16	Sophisticated Ladies	Ulrika Jansson	Annette Mannheimer	Mona Bengtsson	Åsa Forsberg	29:41	1989	Petrus Church, Stocksund [sv]	BIS
17	Juilliard	Robert Mann	Joel Smirnoff	Samuel Rhodes	Joel Krosnick	30:45	1990	Coolidge Auditorium	Sony Classical
18	Jean Sibelius	Yoshiko Arai	Jukka Pohjola	Teemu Kupiainen	Seppo Kimanen	30:11	1991	Roihuvuori Church [fi]	Ondine
19	New Helsinki	Jan Söderblom	Petri Aarnio	Ilari Angervo	Mark Ylönen	33:22	1997	Sigyn Hall [fi], Turku	Finlandia
20	Melos	Wilhelm Melcher	Ida Bieler	Hermann Voss	Peter Buck	30:38	1998	Jesus-Christus-Kirche, Berlin [de]	Harmonia Mundi	Cite error: There are <ref> tags on this page without content in them (see the help page).
21	Beau	Anita Dusevic	Stephan Bryant	Sue Jane Bryant	Peter Parthun	?	c. 1998	?	Arktos Recordings
22	Utrecht	Eeva Koskinen	Katherine Routley	Sven Arne Tepl	Sebastian Koloski	29:28	2001	[Unknown venue], Renswoude	Cobra
23	Oslo	Geir Inge Lotsberg	Per Kristian Skalstad [no]	Are Sandbakken	Øystein Sonstad	32:25	2002	Lommedalen Church [no]	cpo
24	Tempera [fi]	Laura Vikman	Silva Koskela	Tiila Kangas	Ulla Lampela	29:48	2004	Länna Church, Uppland [sv]	BIS
25	Emerson	Eugene Drucker	Philip Seltzer	Lawrence Dutton	David Finckel	27:56	2004	American Academy of Arts and Letters	Deutsche Grammophon
26	Daedalus	Min-Young Kim	Kyu-Young Kim	Jessica Thompson	Raman Ramakrishnan	28:56	c. 2006	?	Bridge
27	Coull	Roger Coull	Philip Gallaway	Gustav Clarkson	Nicholas Roberts	31:49	2008	St Paul’s Church, Birmingham	SOMM
28	Henschel	Christoph Henschel	Markus Henschel	Monika Henschel	Mathias Beyer-Karlshøj	30:51	2008	August Everding Hall, Grünwald	Neos
29	Kocian	Pavel Hůla	Miloš Černý	Zbyněk Paďourek	Václav Bernášek	29:26	2009	Domovina Studio, Prague	Praga Digitals
30	Tetzlaff	Christian Tetzlaff	Elisabeth Kufferath	Hanna Weinmeister	Tanja Tetzlaff	29:55	2009	Sendesaal Bremen [de]	Avi-Music
31	Vertavo	Berit Cardas	Øyvor Volle	Henninge Landaas	Bjørg Lewis	30:52	2010	Østre Fredrikstad Church [de]	LAWO Classics [no]
32	Dante	Krysia Osostowicz	Giles Francis	Judith Busbridge	Bernard Gregor-Smith	31:01	2010	Potton Hall, Suffolk	Hyperion
33	Kamus	Terhi Paldanius	Jukka Untamala	Jussi Tuhkanen	Petja Kainulainen	30:07	2014	Schauman Hall, Pietersaari	Alba [fi]
34	Skyros	Sarah Pizzichemi	James Moat	Justin Kurys	William Braun	32:14	2014	Engel Hall, Union Adventist University	Navona
35	Engegård [no]	Arvid Engegård [no]	Alex Robson	Juliet Jopling [no]	Jan Clemens Carlsen	28:37	2015	Bryn Church	BIS
36	Flinders	Helen Ayres	Shane Chen	Helen Ireland	Zoe Knighton	29:39	2015	Wyselaskie Auditorium, Parkville	ABC Classics
37	Ehnes	James Ehnes	Amy Schwartz Moretti	Richard Yongjae O’Neill	Robert deMaine	31:38	2015	Potton Hall, Suffolk	Onyx Classics
38	Leipzig	Conrad Muck	Tilman Büning	Ivo Bauer	Matthias Moosdorf	31:21	2016	Marienmünster Abbey	MDG
39	Aizuri	Emma Frucht	Miho Saegusa	Ayane Kozasa	Karen Ouzounian	29:39	2022	Sauder Concert Hall, Goshen College	Azica

The sortable table below lists most, although perhaps not all, commercially available recordings of the String Quartet in D minor, Voces intimae: