Innovators by Benyounes Quartet

Béla Bartók, Ludwig van Beethoven, Claude Debussy

Benyounes Quartet

Innovators

Price: € 19.95
Format: CD
Label: Champs Hill
UPC: 5060212591555
Catnr: CHRCD 147
Release date: 01 March 2019
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Label
Champs Hill

UPC
5060212591555

Catalogue number
CHRCD 147

Release date
01 March 2019

Album

Artist(s)

Composer(s)

About the album

Recipients of the Royal Philharmonic Society’s Julius Isserlis Scholarship, the quartet’s international accolades also include prizes at both the 2014 Orlando International String Quartet Competition and the International Sandor Vegh String Quartet Competition in Budapest.

The quartet studied with Professor Gabor Takacs–Nagy at the Haute École de Musique in Geneva. They have also worked closely with Peter Cropper, Quatuor Ebène, Eberhard Feltz, Andràs Keller and David Waterman, at centres such as Pro Quartet, Aldeburgh and IMS Prussia Cove. The quartet held the Richard Carne Junior Fellowship at Trinity Laban Conservatoire of Music and Dance (2011-13) and is currently resident at Bangor University.

Artist(s)

Zara Benyounes (violin)

Emily Holland (violin)

Sara Roberts (viola)

Kim Vaughan (cello)

Benyounes Quartet

Over the last decade the Benyounes Quartet has forged a reputation for fresh, vivid accolades include prizes at both the 2014 Orlando International String Quartet Competition and the 2012 International Sandor Vegh String Quartet Competition in Budapest. They Konzerthaus, Queen Elizabeth Hall and the Purcell Room and at festivals such as Verbier, Aix-en-Provence, Aldeburgh and West Cork Chamber Music. Formed at the Royal Northern College of Music in 2007, the Benyounes Quartet was subsequently awarded the Royal Philharmonic Society’s Julius Isserlis Scholarship to study with Gábor Takács-Nagy at the Haute École de Musique in Geneva. During this period they lived together in a quiet French village, which allowed them the time and space to develop and explore a wide range of...

Formed at the Royal Northern College of Music in 2007, the Benyounes Quartet was subsequently awarded the Royal Philharmonic Society’s Julius Isserlis Scholarship to study with Gábor Takács-Nagy at the Haute École de Musique in Geneva. During this period they lived together in a quiet French village, which allowed them the time and space to develop and explore a wide range of repertoire. They also worked closely with Eberhard Feltz, Peter Cropper, Quatuor Ébène, András Keller and David Waterman at centres such as Pro Quartet, Aldeburgh and IMS Prussia Cove.

The quartet held the Richard Carne Junior Fellowship at Trinity Laban Conservatoire of Music and Dance (2011–2013) and have been invited to teach at Dartington International Summer School, ConCorda, Birmingham Conservatoire and the Royal Northern College of Music.

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Composer(s)

Ludwig van Beethoven

Ludwig van Beethoven was a German composer and pianist. A crucial figure in the transition between the Classical and Romantic eras in Western art music, he remains one of the most famous and influential of all composers. His best-known compositions include nine symphonies, five piano concertos, one violin concerto, 32 piano sonatas, 16 string quartets, his great Mass the Missa solemnis, and one opera, Fidelio. Together with Mozart and Haydn, he was part of the First Viennese School. Born in Bonn, then the capital of the Electorate of Cologne and part of the Holy Roman Empire, Beethoven displayed his musical talents at an early age and was taught by his father Johann van Beethoven and by composer and conductor Christian Gottlob Neefe. At the age of 21 he moved to Vienna, where he began studying composition with Joseph Haydn, and gained a reputation as a virtuoso pianist. He lived in Vienna until his death. By his late 20s his hearing began to deteriorate, and by the last decade of his life he was almost totally deaf. In 1811 he gave up conducting and performing in public but continued to compose; many of his most admired works come from these last 15 years of his life.

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Claude Debussy

Claude Debussy was a French composer. He and Maurice Ravel were the most prominent figures associated with impressionist music, though Debussy disliked the term when applied to his compositions. He was made Chevalier of the Legion of Honour in 1903. He was among the most influential composers of the late 19th and early 20th centuries, and his use of non-traditional scales and chromaticism influenced many composers who followed. Debussy's music is noted for its sensory content and frequent usage of non-traditional tonalities. The prominent French literary style of his period was known as Symbolism, and this movement directly inspired Debussy both as a composer and as an active cultural participant Among his most famous works are his Clair de Lune, his Three Nocturnes...

Claude Debussy was a French composer. He and Maurice Ravel were the most prominent figures associated with impressionist music, though Debussy disliked the term when applied to his compositions. He was made Chevalier of the Legion of Honour in 1903. He was among the most influential composers of the late 19th and early 20th centuries, and his use of non-traditional scales and chromaticism influenced many composers who followed.
Debussy's music is noted for its sensory content and frequent usage of non-traditional tonalities. The prominent French literary style of his period was known as Symbolism, and this movement directly inspired Debussy both as a composer and as an active cultural participant Among his most famous works are his Clair de Lune, his Three Nocturnes and his orchestral piece La Mer.

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Béla Bartók

Next to Arnold Schoenberg and Igor Stravinsky, Béla Bartók was a third seminal innovator of European art music at the start of the twentieth century. Bartók, too, sought a way out of the deadlock of tonal music around 1900, and he found it in folk music. Initially, he tied in with the nationalistic tradition of Franz Liszt with his tone poem Kossuth, but eventually he found his own voice with the rediscovery of the music of Hungarian peasants. Together with Zoltán Kodály he was one of the first to apply the results of folkloric research into his own compositions. One major difference between him and composers of the 19th century, was that Bartók did not adjust to the system of tonality, but created his own musical idiom from folk music. Because of this, his composition style was flexible to other musical trends, without having to violate his own view points. For example, his two Violin sonates come close to Schoenberg's free expressionism, and after 1926 his music started to show neoclassicistic tendencies, comparable to Stravinsky's music. Bartók was not just interested in Hungarian folk music, but could appreciate musical folklore from all of the Balkan, Turkey and North-Africa as well.

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