CD-Contents:

Edvard Hagerup Grieg  (1843 – 1907)
Suite "Aus Holbergs Zeit", op. 40, 1884/85   (Arr.: Jürgen Pfiester)

  1   Präludium,   Allegro vivace

2'37''

  2   Sarabande,   Andante

2'02''

  3   Gavotte – Musette,   Allegretto

3'10''

  4   Air,   Andante religioso

5'02''

  5   Rigaudon,   Allegro

2'44''

Johann Sebastian Bach  (1785 – 1850)

  6    Sonate für Viola da Gamba  in g-moll, 1. Satz  
          (Arr.: Jeffrey Stone)

5'04''

  7   "Air"   aus der Ouvertüre Nr. 3 D-Dur BWV 1068 
          (Arr.: A. Frackenpohl)

5'28''

Tomaso Albinoni  (1671 – 1750)
Sonata "San Marco"   (Arr.: David Hickman)

  8   Grave

2'26''

  9   Allegro

2'23''

10   Andante

1'34''

11   Vivace

2'08''

Samuel Barber  (1910 – 1981)

12   Adagio   aus dem Streichquartett op. 11   (Arr.: McNeff)

6'02''

Ludwig van Beethoven  (1770 – 1827)

13   Streichquartett   op. 18 Nr. 3, 4. Satz, Presto 
          (Arr.: Jürgen Pfiester)

7'01''

Joseph Haydn  (1732 – 1809)

14   Streichquartett   op. 76 Nr. 5, Presto   (Arr.: A. Frackenpohl)

3'57''

Total Time:   

52'19''

     To those who demand to have everything pure and proper, we can only recommend to "take it easy". Shakespeare would say "As You Like It" and anyone with ears will be enthused about the newest tongue-twister from the RENNQUINTETT. The five brass players infringe upon the myth that classical string music must remain authentic. The RENNQUINTETT has always been one step ahead of the others when it comes to searching for new musical funds. The continuous musical development illustrates the personal style of this extraordinary ensemble. Dealing with such documented masterpieces was quite a new challenge, though characteristic of their exceptional quality: "highlights for strings" from baroque to the post-romantic period were adapted to two trumpets, French horn, trombone and tuba, a combination of instruments representing all the registers, similar to a string quartet or a chamber orchestra. That musical works are performed with instruments which are currently available, is nothing new. The adaptation for a modern brass ensemble is consequently legitimate, although not at all comparable to some of the wildly growing degenerated modern arrangements; especially when using the original full score , as the RENNQUINTETT eloquently demonstrates with such virtuosity and perfection. If you have only been introduced to one dimension of classical string music up to now, be prepared for a musical treat, on account of these spectacular sounds, eminently tense and virtuous interpretations and arrangements cleverly painted with layers of instrumental colors - even gratifying for string fanatics.
     Edvard Grieg's Holberg-Suite op. 40 has already been classified as "antique-music". Agreed. It produces an old-fashioned atmosphere due to the nearly inaudible cantabile divisi-cello parts, if it wasn't for this latest release from the RENNQUINTETT and it's incredible interpretation of this work.
     The adaptation of the first movement (Allegro) from J.S.Bach's Sonata for Viola da Gamba in G-minor definitely does not cross over the boundaries of what is considered good taste. The elements in this sonata that remarkably remind one of the musical exuberance of the Brandenburg concertos, prevail in this brass version with astonishing refinedness.
     Finding J.S. Bach's famous "Air" from the D-major Suite in this type of surrounding should not be a shock. Utmost surprising moments, making it understandable through their vivacity, timbre precision and vigour upon which characteristics the unbroken good reputation of the "Air" is established, disclose in this 'reformed' spectrum of sound.
     The sensitivity of the brass vocabulary is extremely impressive in the Sonata 'Saint Mark' from Tomaso Giovanni Albinoni. Even though a daring grasp on the sacred character of the chamber music from one of the Venetian masters, it presents a colorfully rich and moving course through the many facetted efficacious brass culture with immense accuracy in articulation.
     It's similar to a mask, covering up the string sound again and again, but not held up in a protective manner, when the five brass players surrender their soul - the same passion, that takes possession of each performer in a string quartet, a substance that without the Adagio from Samuel Barber's string quartet opus 11 wouldn't receive any praise. The way, the RENNQUINTETT uses the possibilities of musical emotions is astonishing, showing fascinating means of sound even in the passionate warmth of tone in this popular movement.
     When performing Beethoven, the deciding factor is the quality of a string quartet and, even more so, the quality of a first class brass ensemble. Over-estimation seems clearly evident when these brass players encroach upon Ludwig van Beethoven's Presto from the String Concerto No.3 op.18. But nothing could be further from the truth. Even Beethoven can be 'brass-blown'. Behind the stream-lined interpretation the musicians never narrow the dynamic spectrum and through the polished surface shines the humor of this refined Presto.
     Haydn has become the musical 'victim' of five adventurous and experimental high level brass musicians. The Finale-Presto from Joseph Haydn's String Quartet op.76 No.5 in D-major sounds like a breath-taking acoustic surprise package, richly supplied with every detail, tightly bound as though it was done by one hand.

Walter Mottl

DAS RENNQUINTETT

CREDITS

Digitally recorded in 1997/98
Sound engineers: Sigurd Krumpfer, Rudolf Anslinger, Karl Haffner
Digital mastering: Sigurd Krumpfer
Production: Rudolf Bayer
Text: Walter Mottl
Translation: Bernadette and Jochen Scheerer
Photos: Reiner Voss