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Hyperion Records

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A Brundibár birthday card for Eva Baierová, who played Aninka by František Zelenka (1904-1944)
Image supplied by the Jewish Museum in Prague
Track(s) taken from CDA67973
Recording details: February 2012
St Michael's Church, Highgate, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: February 2013
Total duration: 13 minutes 47 seconds

'Ullmann's concentrated, sole surviving quartet breathes a rarefied air, every bar testifying to his complete mastery of quartet-writing' (Gramophone)

'Powerfully emotional works, performed here by The Nash Ensemble with passionate conviction and great attention to detail … an impressive achievement' (BBC Music Magazine)

'These sharply contrasting pieces, played with typical Nash polish and intelligence, show there was no shared Theresienstadt style—just a collection of promising creative careers never allowed to reach fulfilment' (The Guardian)

'This important and satisfying album brings together works by four Jewish composers transported by the Nazis to the ghetto created in the Czech town of Terezin … Simon Broughton's excellent booklet note encourages further study of this extraordinary story … the superb musicians of The Nash Ensemble turn in performances of searing conviction and they have been beautifully recorded' (International Record Review)

'The Nash Ensemble's performances are top-drawer, remarkably so with the various string groupings; as usual, the Hyperion recording leaves nothing to be questioned' (The New Zealand Herald)

String Quartet No 3, Op 46
composer
1943; Theresienstadt

Presto –  [3'29]
Largo –  [3'49]

Introduction  EnglishFrançaisDeutsch
Viktor Ullmann (1898–1944) composed his first two string quartets in 1923 and 1936 respectively, the second getting a London performance in 1938, but they haven’t survived. The String Quartet No 3 was composed in Theresienstadt in 1943 and is distinctly Viennese in character, following classical models with a wistful, lyrical quality. There are two sorts of compositions from Theresienstadt: those that somehow reflect the circumstances in which they were written and those that are pure music. Ullmann’s chamber opera Der Kaiser von Atlantis (‘The Emperor of Atlantis’) is an example of the former while the quartet is a classical gem.

Ullmann’s third quartet is in four sections, but they run into each other to form a single-movement work that is fluid and concise. The searingly beautiful opening is scored for the four instruments in a mood of nostalgic melancholy which moves into a grotesque scherzo with the cello responding angrily and soothingly to what sound like taunts from the upper strings. Phrases are tossed from instrument to instrument and pizzicatos fly. Soothing the atmosphere, the lyrical melody of the opening returns but shifts towards a darker mood. This leads into the slow movement which begins with a chromatic note-row on the viola and then the cello building up a fugue-like texture. This is the emotional heart of the work and also has references back to the opening melody. The finale has a bold, assertive theme alternating with fast scurrying passages before returning to another variation of the opening music as a coda.

from notes by Simon Broughton © 2013

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