Egon Wellesz: Chamber Music
In its mix of tonality, Expressionism and Schoenbergian serialism, the late chamber music of Egon Wellesz (1885–1974) – born in Vienna but an Oxford don for almost four decades – marries the mid-century radicalism of his native city with the lyricism of his adoptive homeland. In the first part of his career Wellesz was best known as a composer of operas, and these chamber works were audibly written by someone with a keen sense of drama: in their primal passion, flawless pacing, arching melodic lines and occasional bursts of humour, one can almost imagine them on stage.
Veles Ensemble
Hartmut Richter, violin
Ralitsa Naydenova, viola
Evva Mizerska, cello
Gabriela Opacka-Boccadoro, violin (Tracks 9-15)
Peter Cigleris, clarinet (Tracks 13-15)
Listen To This Recording:
- No. 1 Moderato
- No. 2 Scherzando
- No. 3 Largo
- No. 4 Molto tranquillo
- I Molto sostenuto
- II Vivace
- III Adagio
- IV Allegro moderato
- No. 1 Adagio
- No. 2 Agitato
- No. 3 Lento
- No. 4 Allegretto
- I Allegro commodo
- II Adagio
- III Allegro vivace
- No. 1 Energico
- No. 2 Scherzando
- No. 3 Largo
- No. 4 Molto tranquillo
Vier Stücke for String Trio, Op. 105 (1969)
String Trio, Op. 86 (1962)*
Vier Stücke for String Quartet, Op. 103 (1968)
Clarinet Quintet, Op. 81 (1959)
Vier Stücke for String Trio, Op. 105 (1971 revision)
All Except * First Recordings
MusicWeb International :
‘If you want to get to know Egon Wellesz, this would be a good place to start – and it is also worth looking out for the disc of choral works mentioned above. These are very fine and technically brilliant performances by musicians who must have been encountering this music for the first time and, as far as it is possible to ascertain, seem to relish the sound world of this fascinating composer.’
—Gary Higginson, MusicWeb International
MusicWeb International :
‘This collection does Wellesz’ music proud and fills another gap in the musical history of the last century. The quality of the music reminds us how much got overlooked during that strange partisan era that now needs reclaiming. The performances take us deep into Wellesz’ sound world which is a dark but gripping place.’
—David McDade, MusicWeb International