Strykekvartett i D-Dur ·
Strykekvartett i a-moll ·
Pianokvartett i g-moll with Nils Anders Mortensen, piano
The quartets of Catharinus Elling (1858-1942) are written in a full-bodied German romantic idiom. When performed by the Engegård Quartet, sparks are flying. Grieg was the key to Elling’s career. Thanks to a letter of recommendation from him, Elling travelled to Berlin in 1886 to audition for Herzogenberg’s masterclass at the Hochschule für Musik in Berlin. Elling’s letters to Grieg reveal a fairly conservative outlook with Mozart and Beethoven as his prime models, while more modern music by Bruckner and Wagner was hardlyto his taste.
Elling’s compositional style never departed from a romantic musical idiom. His ideals are borrowed from the German school as it is manifested in the music of Schubert via Mendelssohn and Schumann to Brahms. His output covers works for orchestra, chamber music, some 200
songs and many choral pieces, piano pieces and the opera Taras Bulba. He never dated his compositions, nor mentioned them in letters, but based on reviews of performances there is good reason to suppose that the works on this recording were all composed between 1890 and
The opening of Elling’s Piano Quartet in G minor is without doubt the most compelling contribution of all to Norwegian music history. The broad gestures within the strong framework, the colour palette of the instrumentation, the sparkle in the virtuoso piano part. Quickly
checking the title page again; no it does not say Brahms or Mendelssohn – it actually says Catharinus Elling from Oslo!