Composer: Ernst Toch
Works: String Quartets – No. 11, Op. 34 (1924), No. 13, Op. 74 (1953)
Performers: Buchberger String Quartet
Recorded: Evangelische Kirche, Köln-Rondorf on March 22nd-24th, 1999 (Op. 34) and May 10th-12th, 1999 (Op. 74)
Label: CPO 999 687-2
Duration: 55:35
Release Date: November 2001
In this compelling release, the Buchberger String Quartet presents a pair of string quartets by Ernst Toch, a composer whose journey through the tumult of the 20th century mirrors the evolution of modernist thought in music. Toch’s String Quartet No. 11, Op. 34, composed in 1924, and No. 13, Op. 74, from 1953, reflect not only his individual stylistic development but also the broader shifts within the avant-garde landscape. This recording, produced by CPO, offers a rich dive into Toch’s intricate textures and emotional depth, performed with both technical prowess and interpretative insight.
Toch’s early musical education was largely self-directed, and his formative encounter with the scores of Mozart—where he famously claimed that Mozart “not only replaced… every living teacher but outdid them all”—sowed the seeds of his lyrical expressiveness. The influence of this formative period is palpable in the Eleventh Quartet, where the expressionist lyricism recalls the yearning lines of Alban Berg. The Buchberger Quartet navigates the emotional terrain of the first movement with a palpable intensity, their phrasing imbued with a sense of urgency that captures the angst inherent in Toch’s writing. The performance’s first movement unfolds with an aching beauty, marked by a dialogue between the instruments that evokes the intimate drama of late Romanticism, yet is distinctly modern in its harmonic language.
The third movement, with its concentrated focus and intricate counterpoint, bears a resemblance to the late quartets of Beethoven, showcasing Toch’s ability to distill profound emotional content into tightly-knit structures. The final Allegro molto bursts forth with a kinetic energy reminiscent of Bartók, a fusion of rhythmic complexity and melodic inventiveness that the Buchberger Quartet executes with remarkable precision. Their technical command allows them to tackle the ferocious challenges of this movement while retaining a sense of musicality, ensuring that the emotional core of the work remains front and center.
The String Quartet No. 13, commissioned by the Coleman Chamber Music Association, marks a pivotal moment in Toch’s engagement with dodecaphony. Though he initially approached serialism with skepticism, his adaptation of the technique in this later work is both exploratory and assertive. The first movement opens with a sequence of five tone rows, demonstrating Toch’s dexterity in manipulating serial material while infusing it with a personal voice. The Buchberger Quartet brings a luminous conviction to this work, especially in the first movement’s contrast between the weighty, introspective passages and the subsequent flighty motifs that reflect Toch’s evolving musical language.
Notably, the last movement of the Thirteenth Quartet radiates a gritty determination, echoing Beethoven’s late style both in its thematic development and emotional gravitas. The quartet’s performance captures the underlying tension and resolution that Toch imbues within the music, allowing for an exhilarating conclusion that resonates with historical significance.
From a recording standpoint, CPO’s engineering is commendable, capturing the clarity and warmth of the Buchberger Quartet’s sound within the evocative acoustic of the Köln-Rondorf church. The balance among the instruments is well-managed, allowing for individual lines to emerge distinctly while maintaining the ensemble’s overall unity.
In the context of Toch’s oeuvre, these quartets serve not only as a testament to his resilience amidst personal and political upheaval but also as an essential exploration of the modern string quartet repertoire. They invite listeners to engage with Toch’s distinct voice—at once reflective of his influences and resolutely individualistic. For those seeking further insight into Toch’s chamber works, the String Quartets Nos. 12 and 15, along with the Second and Third Symphonies, provide a broader perspective on his artistic evolution.
In conclusion, this recording by the Buchberger String Quartet stands as a vital addition to the Toch discography. Their interpretation reveals the richness of Toch’s music, advocating for its continuing relevance in the canon of 20th-century string quartets. The combination of musical insight and technical excellence makes this disc a necessary acquisition for both connoisseurs and those newly introduced to Toch’s profound legacy.
