Beethoven Opus 74, Nordheim 1956 Quartet, Bartok 3 Engegårdkvartetten String Quartet

• Ludwig van Beethoven (1770–1827)
• 1String Quartet No.10, Op.74: I. Poco Adagio, Allegro09:27
• 2String Quartet No.10, Op.74: Ii. Adagio Ma Non Troppo09:14
• 3String Quartet No.10, Op.74: Iii. Presto06:33
• 4String Quartet No.10, Op.74: Iv. Allegretto Con Variazioni06:33
• Arne Nordheim (1931–2010)
• 5String Quartet 1956: I. Lento Quasi Una Improvisazione10:28
• 6String Quartet 1956: Ii. Intermezzo04:27
• 7String Quartet 1956: Iii. Epitaffio05:37
• Béla Bartók (1881–1945)
• 8String Quartet No.3, Sz.85: I. Prima Parte04:52
• 9String Quartet No.3, Sz.85: Ii. Seconda Parte05:46
• 10String Quartet No.3, Sz.85: Iii. Recapitulazione Della Prima Parte03:20
• 11String Quartet No.3, Sz.85: Iv. Coda01:54
• Total Runtime01:08:11

Info for Beethoven Opus 74, Nordheim 1956 Quartet, Bartok 3

The monumental creativity which Beethoven, Haydn and Bartók gave to the genre of the string quartet is our greatest inspiration. In the Harp we find Beethoven at his most entertaining and least problematic, although slightly provocative in the almost forced gentleness of the final movement. We chose to record the String Quartet 1956 including its incredibly atmospheric final Largo in honour of one of Norway's greatest composer, Arne Nordheim. The intensity and individuality of Bartók's 3rd Quartet make it a natural conclusion for us, juxtaposing the most intimate and lonely music with hard-hitting rhythmic sections which only Bartók could bring off.

'Playful and elegant, with nuances of a nature rarely heard before. With their new release the Engegård quartet meets all my expectations created from their debut album.'

The way in which 2L does its art is twofold: first by choosing a right venue - very often large open spaces (halls, churches etc.) - for the repertoire, and then by balancing the image in the the placement of microphones and musicians relative to each other in that venue. Below is shown how the members of the Engegårdkvartetten were placed during recording the three string quartets: Beethoven Op. 74 ('Harp'), Nordheim 1956, and Bela Bartok No. 3 Sz.85.

The setup used for the Nordheim quartet is very clever. It appears to support the music in a right way, eg. by highlighting the lines written for the cello. Nordheim's kind of atonal music in this composition is interesting too, not too complex, not too over-burdened with material. Very listenable, and in this way recorded even better. It's always intrguing and useful to hear new versions of Bartok's later string quartets, and even those of Beethoven, although the latter have been subject to so many fine interpretations that I personally always feel a bit embarrased to review new ones. Anyway, I liked the music making of the Engegårdkvartetten, and I've listened to this recording many, many times, and by concentrating on how the music in it sounds.

Arvid Engegård, Violin
Atle Sponberg, Violin
Juliet Jopling, Viola
Adrian Brendel, Cello

WAVE 352.8kHz - Stereo

Formed under the midnight sun in Lofoten in 2006, the Engegård Quartet rapidly became one of the most sought after ensembles in Norway, performing in Bergen Festival and Oslo Chamber Music Festival in their first season. With an internationally acclaimed debut CD under their belts in 2008, the Engegård Quartet tour Scandinavia regularly and perform throughout Europe.

The great quartets of Haydn, Mozart, Beethoven, Schubert and Bartók are the Engegård Quartet’s core repertoire. With its’ Nordic background, it is natural for the Engegård Quartet to include Edward Grieg and Arne Norheim in its’ programmes. The Engegård Quartet’s encore repertoire has extended on occasion to fill whole concerts, including virtuosic and folk music, and more than a hint of Argentinian Tango. Guests with the Engegård Quartet have included Leif Ove Andsnes, Frans Helmerson and Nobuko Imai. The Engegård Quartet has released three CDs, and is working on two more.

2011 marks the beginning of a new era for the Engegård Quartet with a new cellist. The members of the quartet are Arvid Engegård, Atle Sponberg, Juliet Jopling and Adrian Brendel .

Arvid Engegård decided at the age of ten, that the string quartet was the ideal medium for making music. Major milestones in his life include an influential period as concertmaster of Camerata Academica in Salzburg under the direction of Sándor Végh, before leading the Orlando Quartet for several years. Arvid is also in considerable demand as a conductor.

Atle Sponberg will be recognised by many from the finals of the European Broadcasting Union competition in 1982. Concertmaster of the Norwegian Radio Orchestra, Atle is a main figure in Norwegian musical life. Atle also studied tango in Buenos Aires.

While graduating in Economics from Trinity College, Cambridge University, Juliet Jopling returned to her dream of becoming a chamber musician. A prizewinner of the Lionel Tertis International Viola Competition, Juliet has appeared as soloist with orchestras including The Philharmonia, London.

Adrian Brendel has quickly established himself as one of the leading cellists of his generation. His recent two year partnership with his father Alfred Brendel, performing all of Beethoven’s music for cello and piano at venues throughout the world was a huge public and critical success. Adrian is co-founder of Music at Plush.

Arvid is the creator and the Artistic Director of Lofoten International Chamber Music Festival, a magnet for chamber music lovers seeking an intimate chamber music experience in spectacular scenery. A regular fixture in the Engegård Quartet’s summer, “the world’s most beautiful festival” is a meeting place for some of the worlds’ best loved chamber musicians.

Booklet for Beethoven Opus 74, Nordheim 1956 Quartet, Bartok 3