Andrew Palmer, Group Editor
Classical Music: Brodsky Quartet Golden Oldies - More Favourite Encores
Golden Oldies - More Favourite Encores
Bach
Prelude X; Beethoven
Moonlight Sonata (first movement); Debussy
Préludes VI and IX / Deux Arabesques; Fauré
Après un rêve; Saint-Saëns
Les Cygnes; Elgar
Adieu; Joplin
Solace (Habanera); Shostakovich
Elegy and Polka; Bazzini
La Ronde des lutins; Satie
Gnossiennes Nos 1, 2, and 6; Khachaturian
Sabre Dance; Poulenc
Prélude (from Sonata for Piano Duet) Isidora Žebeljan:
An Intimate Letter from the Judean Desert; Pablo Casals
El cant dels ocells (Song of the Birds)
Brodsky Quartet: Krysia Osostowicz violin I, Ian Belton violin II, Paul Cassidy viola; Jacqueline Thomas cello I.
With Laura van der Heijden, cello II and; Julian Jacobson, piano
Chandos CHAN 20230
https://www.chandos.net/
The picture inside the booklet says it all! After 50 years playing music of exquisite quality and technical brilliance the Brodsky Quartet is letting its collective hair down and having fun.
To mark the 50th anniversary since its formation in 1972, the group has compiled a delightful and ravishing album affectionately titled: Golden Oldies More Favourite encores.
And, after more than 3000 concerts across the world and over 70 recordings, they are used to giving an encore or two. Their playlist has many a delightful treat, whether it be the deliciously enchanting Première Arabesque of Debussy or an arrangement of the first movement of Beethoven’s Moonlight Sonata, there are so many lollipops in store for the listener; the twenty tracks are varied and diverse covering the gamut of emotions from fun and joy to reflective. Except for the last track, the arrangements have been made by members past and present of the Brodsky’s.
Remarkably, cellist Jacqueline Thomas, who wrote the programme notes, is an original member along with violinist Ian Belton. The Quartet has also invited two guests along: Laura van de Heijden, who joined them on their recent Schubert
C major Quintet release and added an extra richness to some of the arrangements. Thomas writes about her audacious arrangement of Saint-Saëns
The Swans: ‘I love the idea of two swans gliding side by side on still waters after all, swans mate for life and should never be alone!’ The other guest is pianist, Julian Jacobson, joining the quartet for Elgar’s touching and expressive
Adieu.
There is so much to enjoy on this album and sometimes it is strange to hear how the characteristics of a composition written for a percussive instrument such as a piano, change; it can be discombobulating hearing a familiar piece played on strings. That said, Satie’s
Gnossiennes, work extremely well.
The Brodsky’s are known for championing Shostakovich and as Thomas points out, no encore collection would be complete without their dear friend. The last piece
An intimate Letter from the Judean Desert, is by Isidora Žebeljan an ‘astonishing musician, artist and human being and who died far too young'.
The Quartet certainly have fun in the
Sabre Dance with some accomplished playing as the melody leaps around, and the virtuosic technical skill needed in Bazzini’s
La Ronde de lutins is dazzling.
Throughout, the Brodsky’s stay true to their reputation for high quality musicianship, clean lines, rhythmic vivacity, wonderful dynamics and precision.
Certainly a disc that is exuberant, captivating and a pleasure to have in the CD collection.