Ignaz Pleyel: Prussian Quartets 7–9

Pleyel’s string quartets occupy a central place in his rich musical oeuvre – which is hardly surprising, given the fact that he studied with Joseph Haydn and was later his friend. What is surprising, however, is that Haydn’s influence on Pleyel is not as clear as one might expect. During Pleyel’s lifetime his twelve Prussian Quartets (Benton 331-42) enjoyed very great popularity, and today they convey a clear picture of his versatility in chamber composition. Concertante episodes, distributed in fair shares among the four instruments, play the dominant role in Pleyel, and here his inclination toward an idiom of clearer Italian orientation is reflected. The Pleyel Quartet of Cologne, drawing on historical sources for its interpretations whenever possible, performs three of these »bold« Prussian Quartets fascinating us with their dramatic harmony and many tonal surprises.

Reviews/Press

FONO FORUM, Marcus Stäbler, 9/2008
»[...] Dass die Werke den Hörer schon bei der Erstbegnung für sich einnehmen, liegt jedoch nicht allein am Komponisten selbst, sondern auch an den vorzüglichen Interpreten: Die Mitglieder des Pleyel Quartetts - allesamt renommierte Streicher mit einem nachhaltigen Erfahrungsschatz aus bedeutenden Alte-Musik-Ensembles - beleben die zu Unrecht vernachlässigten Stücke mit einer äußerst feingliedrig artikulierten, reich ausdifferenzierten und gleichzeitig wunderbar beseelten Darbietung.«

KLASSIK-HEUTE, Richard Eckstein, 30.06.2008
»[...] Drei der 'Preußischen' Quartette – Nr. 7 in D-Dur, Nr. 8 in F-Dur und Nr. 9 in g-Moll – sind auf dieser CD in mustergültigen Interpretationen zu erleben.
Das Erstaunliche beim Hören dieser Aufnahme liegt darin, wie gut es dem Kölner Quartett gelingt, seine Überzeugtheit von Pleyels kompositorischer Qualität in die Wiedergabe einfließen zu lassen. Da tritt gerade Pleyels Neigung zu dramatischer Harmonik und tonalen Überraschungen hervor – wie in den Kopfsätzen des F-Dur- und g-Moll-Quartetts. Und die für ihn spezifische, technisch anspruchsvolle Klangfarben-Dramaturgie wird von „seinem“ Quartett derart virtuos zum Leuchten gebracht, dass nicht der leiseste Gedanke an gefällige Gebrauchsmusik aufkommt. Solche Anwälte möchte man auch anderen, zu Unrecht im Schatten stehenden Komponisten dieser Zeit wünschen. Der nächste Schatzfund der „Pleyels“ darf also mit Spannung erwartet werden…«

Künstlerische Qualität: 10 Punkte

STUTTGARTER ZEITUNG, Marcus Stäbler, 29.04.2008
»[...] Pleyel betört seinen Hörer mit sanglichen Melodien, überraschenden harmonischen Farbwechseln und einer virtuosen Eleganz, die ihre italienischen Einflüsse nicht verleugnet.
So entfalten die Werke schon bei der Erstbegegnung einen großen Reiz – was nicht zuletzt auch der differenzierten, sorgsam artikulierten und lebendigen Interpretation zu danken ist.«

EARLY MUSIC AMERICA, Laura Rónai, Winter 2008
»[...] In their first CD, the Pleyel Quartett Köln gives us a very convincing rendition of three of these works, belonging to a set dedicated to the king of Prussia, Frederick William II. The king (an enthusiastic cellist) must have been quite happy with this gift. The pieces are very well crafted, full of inventive melodic solutions and dramatic harmonic configurations. The Pleyel Quartett plays with real gusto, displaying a willingness to dive head first into this rich material. The four members of the group have equally impressive technical skills, and they match each other in tone quality and musical conception as well. The ensemble is tight and agreeable, and the interpretation, though not particularly innovative or theatrical, is certainly playful where it should be, and lyrical where it matters. If you do not know this excellent composer, here is a golden opportunity to see what it was that captivated two of the best composers of all times (Haydn, Mozart).«

ALL MUSIC GUIDE, Mike D. Brownell, 23.06.2008
»[...] The appropriately named Pleyel Quartet Köln has gone so far as to examine and compare several early editions of these quartets in an effort to produce the most historically accurate performance possible. Combined with the period instruments, obvious academic talents, and passion for neglected works, the quartet also brings refined technical skills and a deep musical understanding of compositions of this time period. Intonation is clean and precise throughout, and the ensemble's sound quality is warm but transparent. Although much of the writing heavily favors the first violin, Pleyel gives the other quartet members ample opportunities to demonstrate their own skills, and the members of Pleyel Quartet Köln rise to the occasion.«

THE STAR, John Terauds, 20.08.2008
»[...] This German string quartet on period instruments delivers three magically transparent, supremely elegant readings of three compositions by Joseph Haydn student Ignaz Pleyel.«

THE STRAD, Robin Stowell, 12.2008
»[...] The Pleyel Quartet Köln here offers elegant period-instrument performances of three of Pleyel's twelve 'Prussian' quartets…
These players deliver the allegros with fire and virtuosity, and revel in the concertante nature of Pleyel's part-writing. They bring an ideal warmth and lyricism to their readings and shape the slow movements with affection, conveying a sure sense of line. They find the right degree of breadth and expressiveness in the Amoroso of the D major Quartet, and bring to the variation movement of the F major such a range of character and expression that repeated passages provoke fresh nuances in phrasing, dynamics and, often, embellishment. The gravity, inwardness and rhetorical power of the G minor Quartet are particularly well conveyed.
The recording is commendable in providing the requisite intimacy of ambience…
Doubting purchasers would do well to heed Mozart's view (1784) of Pleyel's op.1 quartets, expressed to his father: "You will find them worth the trouble," he wrote. "They are very well written and most pleasing to listen to."«