1936 Arthur Schnabel Pro Arte Quartet Z SHELLAC Schumann Piano Quintet E flat

$

80

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A series of great Violin, Piano and Orchestra records on rare labels, from 1902 Monarch to 1940 War Germany recordings.

Great Recording by the Arthur Schnabel  piano and the Pro Arte Quartet

Schumann Piano Quintet E flat Op 44

Laurent Halleux (violin), Germain Prévost (viola), and Robert Maas (‘cello)

w original album M-267 and booklet

Z SHELLAC w tiny z mark under oval VE 4x12" 78 rpm record

Condition:

Excellent  Pristine, possibly unplayed, plays NOISELESS, Album like new

A CHOICE COPY

The Pro Arte Quartet was founded in 1911-12 by students at the Brussels Conservatory. Violinist Alphonse Onnou was the leader, and the other founding members included Laurent Halleux (violin), Germain Prévost (viola), and Fernand Auguste Lemaire (‘cello). The quartet made its début in Brussels in 1913 and soon became known as an exponent of modern music. In 1918 Fernand Quinet became the cellist, but in 1921 he was replaced by Robert Maas. That year, with the aid of Paul Collaer and Arthur Prévost, the Pro Arte Concerts began, in which performances were given of new works by, among others, Bartók (whose Fourth Quartet is dedicated to the Pro Arte), Casella, Honegger, Martin, Milhaud and Rieti. The quartet performed with great success at the 1923 ISCM Festival in Salzburg, and the same year played new works commissioned by Elizabeth Sprague Coolidge at a concert in Rome. After touring Europe the quartet visited England for the first time in 1925; subsequent visits to England included annual series of a week’s performances in Cambridge (1932–8).  In 1932 the quartet was granted the title Quatuor de la Cour de Belgique, in recognition of its services to Belgian music.

From a 1936 review by The Gramophone of the original release

A recording of this Quartet by the Prisca String Quartet was reviewed in the July, 1935, GRAMOPHONE, and I there drew attention to its being good value for the money (four so in., sos.), but not in the first rank of quartet playing. The music covers such a diversity of mood in its four movements that it is a considerable test for any quartet. There is the mystery of the opening section—dispelled later—the dark meditative tones of the famous " Tristan" Andante, the forceful Minuet with the rusticity of the bagpipe-like Trio, the dance of the wood-nymphs following, and recurring in the last movement with its exquisite fairy-like Coda. For the listener not too well trained in listening to chamber-music, it is an ideal work and should be at once added to his library. The Pro-Arte Quartet at once show their fine form in the unisons of the opening theme, a perfect blend of the four instruments, and in their chording when this theme is harmonised.They are a little too forthright, and elsewhere more delicacy is needed. But taken as a whole, this is a richly satisfying and splendidly recorded performance. Perhaps an entirely perfect one could only come from the Pro-Arte, Lener, Buclapesth, and Busch Quartets, each taking a movement apiece!

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