Reinhold Quartett - Reinecke: Complete String Quartets (2019)

Tracklist
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CD1
01. String Quartet No. 2 in F Major, Op. 30: I. Allegro con brio
02. String Quartet No. 2 in F Major, Op. 30: II. Andante
03. String Quartet No. 2 in F Major, Op. 30: III. Scherzo. Vivace
04. String Quartet No. 2 in F Major, Op. 30: IV. Finale. Allegro molto vivace
05. String Quartet No. 4 in D Major, Op. 211: I. Lento-Allegro
06. String Quartet No. 4 in D Major, Op. 211: II. Adagio ma non troppo
07. String Quartet No. 4 in D Major, Op. 211: III. Scherzo. Vivace ma non troppo, quasi allegretto
08. String Quartet No. 4 in D Major, Op. 211: IV. Finale. Allegro giocoso
09. String Quartet No. 1 in E-Flat Major, Op. 16: I. Allegro agitato
10. String Quartet No. 1 in E-Flat Major, Op. 16: II. Andante
11. String Quartet No. 1 in E-Flat Major, Op. 16: III. Scherzo. Presto
12. String Quartet No. 1 in E-Flat Major, Op. 16: IV. Finale. Molto vivace

CD2
01. String Quartet No. 5 in G Minor, Op. 287: I. Allegro
02. String Quartet No. 5 in G Minor, Op. 287: II. Adagio
03. String Quartet No. 5 in G Minor, Op. 287: III. Allegretto
04. String Quartet No. 5 in G Minor, Op. 287: IV. Finale. Molto moderato e maestoso-Allegro con brio, ma un poco maestoso
05. String Quartet No. 3 in C Major, Op. 132: I. Allegro animato
06. String Quartet No. 3 in C Major, Op. 132: II. Lento ma non troppo
07. String Quartet No. 3 in C Major, Op. 132: III. Molto moderato
08. String Quartet No. 3 in C Major, Op. 132: IV. Finale. Allegro molto e con brio

Five string quartets by Carl Reinecke from all the phases of his career, from its beginnings to his old age, are extant. He himself played the first violin in his father’s quartet and in this way very early became acquainted with an extensive quartet repertoire. When he began composing his first quartet, he not only was familiar with the contributions to this genre by Mozart and Beethoven but also knew Schumann’s brand new Quartets op. 41. Reinecke pays homage to Schumann’s music in particular in the lyrical moments of his Quartet No. 2. He composed the Quartets Nos. 3 and 4 during his years as the conductor of the Gewandhaus Orchestra. No. 3 surprises us with its expansive key plans, which also make us sit up and take notice in his subsequent quartets and undermine the cliché of a epigone who rigidly adhered to convention and academism. In his last contribution to the genre, the Quartet No. 5, he remains true to his style. This work perhaps sounds somewhat less like Schumann and somewhat more like Brahms, whose music Reinecke very much admired.

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