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Ravel & La Tombelle: String Quartets

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In seinem neuen Aufnahmeprojekt widmet sich das Mandelring Quartett französischem Reper­toire. Den Auftakt der Doppelveröffentlichung bildet Maurice Ravels Streichquartett, der Genie­streich eines 27-Jährigen, der damit ein neues Kapitel in der Geschichte der französischen Kammermusik aufschlug, kombiniert mit Fernand de La Tombelles fast zeitgleich entstan­denem raffinierten und farbenreichen Quartett op. 36 – eine echte Entdeckung!mehr

Maurice Ravel | Fernand de La Tombelle

"Das Mandelring Quartett fügt nun eine weitere herausragende Einspielung hinzu. [...] Einerseits ist die Interpretation von Glut, Inbrunst und spannungsgeladener, oft fiebriger Kraft geprägt, [...] andererseits fehlen auch Transparenz, Raffinesse und Sinnlichkeit nicht." (Pizzicato)

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Maurice Ravel bezieht sich in seinem Streichquartett zwar explizit auf das zehn Jahre zuvor entstandene Quartett seines Kollegen Claude Debussy, doch er geht einen ganz eigenen, neuen Weg und findet einen unverkennbaren Ravel-Ton: farbenprächtig, raffiniert, imprägniert von jenem Flair des Artifiziellen, das auch die von ihm so geliebten Porzellan- und Glaskunstwerke, Ziersträucher und Bonsai-Bäume verbreiten. Dabei ist das Quartett aufs Sorgfältigste konstruiert und so reich an ausgeklügelten Details, dass es auch nach vielfachem Hören noch Raum für Entdeckungen bietet.

Ein großer Unbekannter und sicher einer der faszinierendsten Protagonisten des französi­schen Musiklebens im späten 19. und frühen 20. Jahrhundert ist Fernand de La Tombelle: Pianist, Organist, Schriftsteller, Astronom, Bildender Künstler, Verfasser eines Breviers über ein traditionelles Rezept mit Foie gras und Trüffeln, leidenschaftlicher Radfahrer - und produk­tiver Komponist: Mehr als 500 Werke umfasst sein Œuvre, darunter eine große Zahl an Kam­mermusikwerken. Das Streichquartett aus dem Jahre 1895 wurzelt in der Tradition der Wiener Klassik und ist doch unverkennbar französisch, hoch expressiv, harmonisch farbenreich und dabei äußerst elegant - ein Werk, das Lust macht, mehr von La Tombelle zu entdecken!

Besprechungen

Crescendo Magazine
Crescendo Magazine | Le 12 juin 2021 | Jean Lacroix | 12. Juni 2021 | Quelle: https://www.cres... Le Quatuor Mandelring freine l’émotion chez Ravel et de La Tombelle

Le Mandelring Quartett, fondé en 1983 et récompensé à de multiplesMehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Le Mandelring Quartett, fondé en 1983 et récompensé à de multiples

Fono Forum
Fono Forum | Juni 2021 | Elisabeth Richter | 1. Juni 2021

Die Informationen über Fernand de La Tombelle (1854-1928) sind spärlich, und erst in letzter Zeit kümmern sich neugierige Musiker um dasMehr lesen

Die Informationen über Fernand de La Tombelle (1854-1928) sind spärlich, und erst in letzter Zeit kümmern sich neugierige Musiker um das keinesfalls zu verachtende (Oeuvre des seinerzeit mehrfach ausgezeichneten Komponisten und Organisten sowie Juristen aus einer französischen Adelsfamilie. Seine Mutter – immerhin Schülerin von Liszt und Thalberg – war seine erste Lehrerin.

La Tombelles Streichquartett von 1894 atmet einerseits den Duft des französischen Impressionismus, bedient sich aber auch traditioneller Satztechniken. Andererseits hört man eine Nähe zur deutschen Spätromantik. Nicht selten denkt man an die schwüle Atmosphäre und den visionären Ton von Schönbergs Sextett „Verklärte Nacht", das jedoch erst fünf Jahre später entstand. Das Mandelring Quartett sorgt im dichten Satz-Gewebe immer für Durchsichtigkeit und für Konturen mit markanten Akzentuierungen. Es kristallisiert durch gestisch-klares Spiel wichtige Linien heraus.

1902 blickte Ravel mit seinem einzigen Streichquartett noch weit stärker als La Tombelle in eine neue Klangwelt und löste damit in Paris auch Kontroversen aus. Debussy war begeistert, Faure, der Widmungsträger, kritisch. Mit ungeheuer feinen Antennen für das Leichte, Luftige, Duftige, für den Hauch des Rätselhaften nähert sich das Mandelring Quartett Ravels genialem Stück. Jede Sekunde zeigt die intensive Auseinandersetzung. Zwingend sind die wellenartigen Steigerungen aufgebaut. Man „riecht" förmlich, wie das Quartett für die reich „duftenden" und schillernden Farben dieser Musik die richtigen Nuancierungen erspürt. Die Strukturen werden durch abgestufte Artikulationen ganz plastisch. Flirrende Tremoli, klirrende Pizzicati und ein dennoch immer homogener Klang entführen auf berührende Weise in den Zauber dieses Quartetts.
Die Informationen über Fernand de La Tombelle (1854-1928) sind spärlich, und erst in letzter Zeit kümmern sich neugierige Musiker um das

Audiophile Audition
Audiophile Audition | May 7, 2021 | Gary Lemco | 7. Mai 2021 | Quelle: https://www.auda...

The various instrumental colors from the Mandelring players seem to merge and melt into a mesmeric haze, a transparent sound we haven’t heard since the Quartetto Italiano played this great work fifty years ago. Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
The various instrumental colors from the Mandelring players seem to merge and melt into a mesmeric haze, a transparent sound we haven’t heard since the Quartetto Italiano played this great work fifty years ago. 

www.musicweb-international.com
www.musicweb-international.com | Tuesday May 4th | Roy Westbrook | 4. Mai 2021 | Quelle: http://www.music...

The Mandelring Quartet are most familiar to me for their superb complete cycle of the Shostakovich quartets, and their late Schubert quartets, both onMehr lesen

The Mandelring Quartet are most familiar to me for their superb complete cycle of the Shostakovich quartets, and their late Schubert quartets, both on fine SACDs on the Audite label, which generally has a fine chamber music catalogue, among other genres. Here the Mandelring offer French music, I think for the first time on disc. The much-recorded Ravel quartet is here coupled with a rarity, the sole string quartet of Antoine Louis Joseph Gueyrand Fernand Fouant de La Tombelle, a name, (or perhaps I should say names), new to me. I note though that Bru-Zane have given him a three-CD survey in their fine series exhuming forgotten but worthwhile works of French Romanticism, and the CD catalogue also has some songs and chamber pieces.


La Tombelle had a major career as a pianist and organist, touring all over France in the latter role, and composed over 500 works. That sheer fluency can be heard here, in his quartet written at age 41 in 1895, and winner of a prize for outstanding chamber music from the Académie des Beaux-Arts. It is dedicated to Vincent d’Indy, one of La Tombelle’s co-founders of the Schola Cantorum, also in 1895, a private music academy with a focus on one of La Tombelle’s enthusiasms, early music. It is a fairly big work playing for half an hour, and just interesting enough to regret that like Ravel, Debussy, Franck, Fauré, Chausson and Dutilleux, La Tombelle left only one example of the genre.

La Tombelle’s quartet is broadly designed on the template of a Viennese classical work, with four movements, the first the most substantial, a brief scherzo, expressive slow movement, and lively Allegro con brio finale. There are cyclic elements also, for César Franck was one of La Tombelle’s models. There is a long slowish introduction (Largo ma non troppo), and the rich harmony and complex string texture are obviously skilful, even if the feeling is (for my taste) sometimes saccharine. The first subject of the Allegro proper has a dotted rhythm hinted at in the introduction, but soon elaborated and extended, and the second theme (marked dolce) arrives at 5:38 and is given to violin and then cello. The Mandelrings keep it flowing, with no ‘signposting’ of musical landmarks by slowing down, which is proper in a work classical enough to have a real development – and even to accommodate a return of music from the introduction (at 9:20). The scherzo has two contrasting themes, a hint in the second of the hurdy-gurdy suggests the booklet note – La Tombelle’s enthusiasms included folklore. At times there is a pizzicato-enlivened texture, a link to the Ravel. The Adagio con molto espressione sounds like yet another passionate example of 1890’s French Wagnerism in its chromatic moments, and the finale has those Franckian recalls of material from the first two movements. This is an expert performance of a very satisfying work, if not one that is quite individual enough to disturb the long-established league table of the best string quartets from France.

At or near the head of that not very long table stands Ravel’s quartet. The Mandelring Quartet provide an impressive account distinguished by their characteristic technical precision and satisfying blend, with some interesting details that not every group has noticed. An early example in the first movement is the imitative cello counterpoint as the first subject begins to expand (0:32), but there several others that will catch the ear of those who know the piece well. It’s an interpretation that will I think be enjoyed by most listeners even if it does displace the various favourites collectors will have.

In recent years I have most often turned to the Quatuor Ébène (Virgin Classics 2008, coupled with the Fauré and the Debussy quartets). They find more light and shade, in part because they give themselves more time to do so. Thus while the Mandelring take 7:35 over the first movement, the Quatuor Ébène’s 8:50 enables them to reflect the Très doux marking rather more, just as their slow movement’s 9:47 (Très lent) allows them to give us more of that quintessential Ravelian tendresse in a very rapt account of exquisite poise and feeling. Conversely the Ébène’s 4:40 is more Vif et agitè than the Mandelring’s 5:12.

So the Mandelring Quartet offer here a viable alternative view of the Ravel, coupled to an intriguing rarity, both very well played and well recorded (though I hope Audite has not entirely abandoned the hi-res SACD format.) There is short but informative booklet note, which is very interesting on the background of Fernand La Tombelle , whose quartet will for most collectors be the principal attraction of this disc.
The Mandelring Quartet are most familiar to me for their superb complete cycle of the Shostakovich quartets, and their late Schubert quartets, both on

www.musicweb-international.com
www.musicweb-international.com | Thursday April 15th | Michael Cookson | 15. April 2021 | Quelle: http://www.music...

For its latest album, the Mandelring Quartett turns its attention to French chamber music, in the first of a two-part issue. Maurice Ravel’sMehr lesen

For its latest album, the Mandelring Quartett turns its attention to French chamber music, in the first of a two-part issue. Maurice Ravel’s enduring renown as a composer could not be more different from that of his older contemporary Fernand de La Tombelle, whose music did not come close to achieving the same status and was virtually forgotten after his death. This coupling is very much to my taste, as it contrasts one of the most admired string quartets in the entire repertoire with the much less-well-known quartet by La Tombelle.

The Mandelring Quartett was founded in 1983 in Neustadt; unsurprisingly, its discography strongly favours Austro/German repertoire - although not exclusively. This album follows its previous foray into French music a few years ago with works by George Onslow, the French born composer of English descent. The Mandelring has announced on its website that the forthcoming second album will feature Debussy’s string quartet and a pair of string quartets by Jean Rivier, another name new to me.

La Tombelle and Ravel were near-contemporaries, the former being the elder by twenty years. Both were Parisians, but La Tombelle was born in the capital whereas the Basque-born Ravel moved there as a young child. Both were students at the Paris Conservatoire, where their reputations and successes could not have been more different. La Tombelle studied composition with Theodore Dubois and organ with Alexandre Guilmant, while Ravel’s teachers included, most notably, Gabriel Fauré who was firmly supportive of his student. La Tombelle was well regarded and won prizes whereas Ravel’s works were strongly criticised by director Théodore Dubois and others in the Conservatoire hierarchy and he was actually expelled, readmitted, then expelled a second time. As pianists, Tombelle progressed to become a concert pianist and organist, whereas Ravel, who had given piano recitals from age fourteen and sometimes played his own works in concert, was to achieve greater success in writing for the piano rather than playing it.

La Tombelle’s name is unfamiliar to many, I am sure. Currently his music is beginning to gain wider attention and a mini-revival seems to be underway. Just over a year ago, my first encounter with La Tombelle, his music proved to be a rewarding experience when I reviewed a 3 CD-book release of La his ‘Chamber, Choral and Symphonic Music and Mélodies’, part of the Bru Zane ‘portraits’ series.

Written in 1895, La Tombelle’s String Quartet in E major was dedicated to his friend Vincent d’Indy and the following year the work won the esteemed Chartier Prize for exceptional chamber music. Whilst I am not making any claims for its greatness, it is so amiably Romantic and melodic, without an unpleasant tone in the score, that it is captivating. This is an insightful performance, full of expressive detail; the Mandelring produce tasteful phrasing and a sweet, warm, beautifully blended string tone. I am often reminded of the sound-world of Camille Saint-Saëns, who gave La Tombelle guidance. One soon becomes conscious of the constant, fruitful rapport between the quartet members. There is an invigorating freshness to their playing in the Allegros and Scherzo which generates plenty of spirit and buoyancy. The protean character the Allegro con brio – Finale is especially notable; it is full of an energy which turns to sadness and loneliness, then becoming resolutely optimistic. In the Adagio, the heart of the score, the Mandelring impart a melting tenderness to the sense of longing and the players combine to glorious effect. The intense level of yearning infused in his writing surely indicates that La Tombelle is portraying a love affair.

There is an alternative “world premiere recording” of La Tombelle’s String Quartet from the Quatuor Satie on the Ligia Digital label, recorded in 2011 in the Auditorium Cziffra, La Chaise-Dieu. I have heard only sound clips, but the album was reviewed here in 2013. I am not sure of its availability as a new CD, but used copies may be available, and it can be downloaded.

Ravel’s distinctive style of composition is often acknowledged as inhabiting the middle ground between the Romantic and the neo-classical eras. A product of his Paris Conservatoire years, Ravel’s only String Quartet could be said to combine the traditional forms so characteristic of his master Fauré (to whom it is dedicated) with a broad range of tone colours and moods which owes a debt of gratitude to Claude Debussy’s string quartet. Achieving acclaim when introduced in 1904 at the Paris Société Nationale de Musique, it is now widely considered a masterwork of the genre.

This captivating and melodic early work is renowned for its freshness and can make quite an impact at first hearing. Throughout the four-movement score, the Mandelring creates a magical and lavish display of warm, vibrant colour. Ravel employs a cyclical use of themes in the manner of Debussy’s String Quartet. Designed in a sonata form with a pair of main themes, the first movement Allegro moderato – très doux (very sweet) is played both adroitly and passionately by the Mandelring. The glorious introduction is played as beautifully as I have heard. The second movement, serving as a Scherzo, marked Assez vif – très rythmé (Rather lively – very rhythmic), contains pizzicato effects and the Mandelring demonstrates excellent concentration and timing. In the rapturous slow movement marked Très lent (very slow) they create by turns a gracious feeling of introspection and poetic rapture. Worth singling out is the simply glorious sound of the resonant cello. Bursting onto the scene is the Finale – Vif et agité (Lively and agitated), which swings between a squally, rather unsettling character to a much-needed composed temperament. The Mandelring’s playing here is immediate and resolute, serving to heighten the finale’s effect.

On balance, my first choice remains the exceptional recording from 2008 on Virgin Classics from the Quatuor Ébène (review), one of the world’s foremost chamber music ensembles. Their performance is impressively vital and colourful, enhanced by a gratifying sense of purpose and their second movement makes a greater impact than the Mandelring’s.

As seasoned performers, the Mandelring Quartett is entirely responsive to the challenges presented by both the La Tombelle and the Ravel scores. The level of empathy required to encompass the range of moods and tone colour possibilities is always in evidence. Impressive, too, are the well managed dynamics. The radio broadcast sound quality is first class. The booklet essay by Eva Blaskewitz is interesting and helpful.

This is a most attractive album of these two French quartets and the second release cannot come too soon.
For its latest album, the Mandelring Quartett turns its attention to French chamber music, in the first of a two-part issue. Maurice Ravel’s

www.pizzicato.lu | 09/04/2021 | Remy Franck | 9. April 2021 | Quelle: https://www.pizz... Mandelring Quartett: Packender Ravel, gelungene Tombelle-Auferstehung mit Himmelfahrt

An spannenden Interpretationen des Streichquartetts von Maurice Ravel herrscht kein Mangel. Das Mandelring Quartett fügt nun eine weitereMehr lesen

An spannenden Interpretationen des Streichquartetts von Maurice Ravel herrscht kein Mangel. Das Mandelring Quartett fügt nun eine weitere herausragende Einspielung hinzu. Die vier Streicher spüren die dramatischen Effekte auf und geben der Partitur die Spontaneität von Ravels Inspiration zurück. Einerseits ist die Interpretation von Glut, Inbrunst und spannungsgeladener, oft fiebriger Kraft geprägt, die das Beste aus jeder Note herausholt, andererseits fehlen auch Transparenz, Raffinesse und Sinnlichkeit nicht. Für mich ist dies eine der packendsten Interpretationen dieser Komposition, und sie straft alle die Lügen, die behaupten, das Quartett verkörpere nichts als Sinnlichkeit und Grazie.

Fernand de la Tombelle (1854-1928) hat an die 600 Werke hinterlassen. Der rührige Baron, der auch Pianist und Organist war, Schriftsteller, Photograph und Maler, Amateur-Astronom und anderes mehr, ist ein französischer Romantiker, der Kammermusik, Opern, Chormusik und Lieder komponiert hat.

Wie Ravel hat De la Tombelle nur ein Streichquartett komponiert, aber anders als bei Ravel gibt es kaum Aufnahmen davon und sicher keine herausragende.

Nun ändert sich die Lage. Das Mandelring Quartett steigt mit viel Schwung und lyrischem Elan in den ersten Satz ein und spielt das Scherzo ebenso tempo- wie kontrastreich. Darauf folgt ein emotionales Adagio, das zu einem Finalsatz führt, der eher ungeduldig und irritiert wirkt, um schließlich in wie fragend formuliert ruhigeren Passagen den Weg frei zu machen für eine hoch fliegende, unbeschwerte Coda. Damit hat das Tombelle-Quartett endlich eine werkgerechte Auferstehung mit Himmelfahrt geschafft.


There is no shortage of exciting interpretations of Maurice Ravel’s string quartets. The Mandelring now adds another outstanding recording. The four string players track down the dramatic effects and return to the score the spontaneity of Ravel’s inspiration. On the one hand, the interpretation is marked by fervor, ardor, and tense, often feverish power that brings out the best of every note; on the other hand, transparency, sophistication, and sensuality are not lacking. For me, this is one of the most gripping interpretations of this composition, and it gives the lie to all those who claim that the quartet embodies nothing but sensuality and grace.

Fernand de la Tombelle (1854-1928) left behind close to 600 works. The enterprising baron, who was also a pianist and organist, a writer, photographer and painter, amateur astronomer, and more, is a French romantic who composed chamber music, operas, choral music, and songs.

Like Ravel, de La Tombelle composed only one string quartet, but unlike Ravel, there are very few recordings of it and certainly none outstanding.

Now the situation is changing. With the Mandelring Quartet the first movement has a lot of verve and lyricism, the Scherzo is alert and contrasted. They are followed by an emotional Adagio that leads to a final movement that seems rather impatient and irritated, finally clearing the way for a high-flying, light-hearted coda. With this, the Tombelle Quartet has finally achieved of this work not only a beautiful resurrection but also a heavenly ascension.
An spannenden Interpretationen des Streichquartetts von Maurice Ravel herrscht kein Mangel. Das Mandelring Quartett fügt nun eine weitere

Rondo
Rondo | 2/2021 | Eleonore Büning | 1. April 2021 Unterm Strich
Ramsch oder Referenz? CDs vom Schreibtisch geräumt

Für ihre neueste CD haben sie sich ein Herzstück des französischen Quartett-Repertoires vorgeknöpft und neben eine Rarität gestellt. Beides ist der pure Luxus.Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
Für ihre neueste CD haben sie sich ein Herzstück des französischen Quartett-Repertoires vorgeknöpft und neben eine Rarität gestellt. Beides ist der pure Luxus.

Audio
Audio | 7/2021 | Andreas Fritz KLANG TIPP

[...] treffen die Musiker den richtigen Ton, indem sie die raffinierte Eleganz der Komposition herausarbeiten. Das Klangbild vermittelt das sensible Agieren des Ensembles. Ein rundum gelungenes Album [...]Mehr lesen

Aus urheberrechtlichen Gründen dürfen wir ihnen diese Rezension leider nicht zeigen!
[...] treffen die Musiker den richtigen Ton, indem sie die raffinierte Eleganz der Komposition herausarbeiten. Das Klangbild vermittelt das sensible Agieren des Ensembles. Ein rundum gelungenes Album [...]

Händlerinfos

Ravel & La Tombelle: String Quartets
Artikelnummer: 97.709
EAN-Code: 4022143977090
Preisgruppe: BCA
Veröffentlichungsdatum: 9. April 2021
Spielzeit: 57 min.

Neuigkeiten

Datum /
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Rating
14.06.2021
Rezension

Crescendo Magazine
Le Quatuor Mandelring freine l’émotion chez Ravel et de La Tombelle
07.06.2021
Auszeichnung

Audio Klangtipp - Ravel & La Tombelle: String Quartets
07.06.2021
Rezension

Audio
KLANG TIPP
15.06.2021
Info

advertisment Pizzicato.lu
12.05.2021
Auszeichnung

Interpretation & Klang: 5/5 Sternen - Ravel & La Tombelle: String Quartets
12.05.2021
Rezension

Fono Forum
Die Informationen über Fernand de La Tombelle (1854-1928) sind spärlich, und...
11.05.2021
Rezension

Audiophile Audition
Recorded 11-14 October 2018, this concert brings together two French composers...
05.05.2021
Rezension

www.musicweb-international.com
The Mandelring Quartet are most familiar to me for their superb complete cycle...
01.05.2021
Info

jpc-courier 5/2021: selected releases of the month
15.04.2021
Rezension

www.musicweb-international.com
For its latest album, the Mandelring Quartett turns its attention to French...
01.04.2021
Info

Note 1 music: new releases (April 2021)
14.04.2021
Rezension

Rondo
Unterm Strich
09.04.2021
Info

Ravel's 'Allegro moderato. Très doux' from his String Quartet in F Major was added to iTunes and Apple Music Playlist 'Moderne und Postmoderne' in Germany and other countries (#9/50)
09.04.2021
Info

Ravel's 'Assez vif. Très rythmé' from his String Quartet in F Major was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 9th until 15th April (#26/60)
09.04.2021
Info

Ravel's 'Très Lent' from String Quartet in F Major was added to iTunes and Apple Music Playlist 'Impressionismus' in Germany and other countries (#20/50)
12.04.2021
Auszeichnung

Listening Tipp - Ravel & La Tombelle: String Quartets
12.04.2021
Auszeichnung

Supersonic - Ravel & La Tombelle: String Quartets
12.04.2021
Rezension

www.pizzicato.lu
Mandelring Quartett: Packender Ravel, gelungene Tombelle-Auferstehung mit Himmelfahrt
26.03.2021
Info

La Tombelle's 'Adagio con molto espressione' String Quartet in E Major, Op. 36 was added to iTunes and Apple Music Playlist 'The A-List: Classical' in the US and other countries (#9/51)
26.03.2021
Info

La Tombelle's 'Adagio con molto espressione' String Quartet in E Major, Op. 36 was added to iTunes and Apple Music Playlist 'Relaxing Classical' in Germany and other countries (#5/50)
26.03.2021
Info

La Tombelle's 'Adagio con molto espressione' String Quartet in E Major, Op. 36 was added to iTunes and Apple Music Playlist 'New in Classical' in Germany and other countries (#16/100)
26.03.2021
Info

La Tombelle's 'Adagio con molto espressione' String Quartet in E Major, Op. 36 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 26th March until 1st April (#38/70)
26.02.2021
Info

La Tombelle's second movement "Allegretto assai scherzando" from String Quartet in E Major, Op. 36 was added to Spotify's playlist "Classical New Releases - Spotify Picks" from 26th February until 5th March (#43/66)
25.01.2021
Info

La Tombelle's 'Adagio con molto espressione' String Quartet in E Major, Op. 36 was pitched for different Curated Classical Playlists
25.01.2021
Info

Ravel's 'Très Lent' from String Quartet in F Major was pitched for different Curated Classical Playlists
25.01.2021
Info

La Tombelle's 'Allegretto assai scherzando' from String Quartet in E Major, Op. 36 was pitched for different Curated Classical Playlists
25.01.2021
Info

Ravel's 'Vif et agité' from String Quartet in F Major was pitched for different Curated Classical Playlists
19.09.2020
Info

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