{"id":22777,"date":"2017-03-23T12:34:34","date_gmt":"2017-03-23T01:34:34","guid":{"rendered":"http:\/\/soundslikesydney.com.au\/?p=22777"},"modified":"2017-03-23T12:34:34","modified_gmt":"2017-03-23T01:34:34","slug":"discovering-gunter-raphael-with-acacia-quartet","status":"publish","type":"post","link":"https:\/\/soundslikesydney.com.au\/?p=22777","title":{"rendered":"Discovering G\u00fcnter Raphael With Acacia Quartet"},"content":{"rendered":"
\"Acacia
Acacia Quartet<\/figcaption><\/figure>\n

The musicians of Acacia Quartet will soon be packing their bags for Berlin as they begin a rare adventure discovering and performing the music of German-Jewish composer G\u00fcnter Raphael.<\/p>\n

Speaking to SoundsLikeSydney, Acacia cellist Anna Martin-Scrase explained that she and her colleagues, violinists Lisa Stewart and Myee Clohessy and violist Stefan Duwe have been invited by the Christine Raphael Foundation in Berlin, to perform and record three of G\u00fcnter Raphael\u2019s six string quartets.<\/p>\n

G\u00fcnter Raphael was born in Berlin in 1903 to a Jewish father Georg and Maria Becker, a violinist and\u00a0 daughter of Albert Becker, a noted Berlin composer and director of music at the Dom in Berlin. Georg, a composer and church musician anticipated trouble and converted to Protestantism, even working at the Luther Kirche in Berlin. Not surprisingly their son G\u00fcnter also became a musician whose compositional output was prolific. His music was published by Breitkopf & H\u00e4rtel. His portfolio included five symphonies and other orchestral works, concertos, instrumental works, chamber music and a large amount of choral and vocal music.<\/p>\n

After his death in Germany in 1960, his daughter, Christine Raphael, also a violinist, formed the Christine Raphael Foundation \u201caiming to both boost the presence of G\u00fcnter Raphael\u2019s works in concerts, radio programs and on CDs as well as the musicological research of the entire legacy.\u201d After her death in 2008, her husband Frederik Pachla took over the administration of the foundation which is curated by Raphael\u2019s other daughter, Dagmar Pieschac\u00f3n-Raphael.<\/p>\n

Says Anna, \u201cWhat appeals to us as an ensemble are his really lush harmonies and thick-textured writing. He was influenced by a spectrum of composers from the Romantics through to Schoenberg.\u201d<\/p>\n

As a composer, Raphael had three distinct phases of compositional style, explains Anna. \u201cHis early music to about 1934, is reminiscent of Brahms and Reger, a bit chromatic, full and passionate and big; in the second period he changed to a more a sparse texture – more rhythmic and more modal. In the third period which dates from about 1945, he experimented with a lot of twelve-tone tone music which he actually renamed \u2018Tonal twelve-tone\u2019.\u201d<\/p>\n

Raphael\u2019s music is stored in his archive and some of it is commercially available. For this project, Frederik Pachla has provided the score for Acacia to work from. \u201cCertainly one of the scores was only handwritten\u201d observes Anna, \u201cbut the parts were all properly written out. One or two of the string quartets have been recorded in performance but not in a studio – and that\u2019s what we\u2019ve been asked to do.\u201d<\/p>\n

By all accounts, G\u00fcnter Raphael was a precocious musician. He wrote his first composition, a short “Lied” for piano at the age of 10. He learned the viola and piano and studied chamber music with his mother. Aged 19, Raphael was awarded the Robert Schumann Leipzig Foundation Scholarship to the Hochschule f\u00fcr Musik in Berlin where he studied composition.<\/p>\n

After his studies, G\u00fcnter Raphael enjoyed considerable success as a composer and teacher. His String Quartet<\/em> No1 in E minor<\/em> was premiered by the Busch Quartet in Berlin in 1925. A year later, the same ensemble premiered his String Quartet No 2 in C major<\/em>, after which he signed his first contract with Breitkopf & H\u00e4rtel and moved to Leipzig where he taught theory and composition at the State Conservatory and where his Symphony No 1<\/em> was premiered by the Gewandhaus Orchestra, conducted by Wilhelm Furtw\u00e4ngler.<\/p>\n

Although Georg had converted to Protestanstism, the Nazi\u2019s determined that Raphael was a “half-Jew\u201d and sadly, this brought a halt to his composing and to the performance of his music. He lost his teaching post at the Leipzig Conservatory in 1934 and later that year, he contracted tuberculosis \u00a0requiring frequent treatment and rest which curtailed his activities even more.<\/p>\n

Raphael survived the war, partly because his doctors hid him from the Nazis in the sanatoria. Yet, he never regained the prestige he enjoyed previously, despite being awarded the Liszt Prize by the City of Dresden in 1948. \u201cHe mentored colleagues through de-Nazification and formed a duo with his wife, Pauline, touring and performing extensively, explains Anna. \u201cEventually, he was appointed to a teaching post at the Duisberg Conservatorium. Ironically, Raphael was offered the post of Kantor at the Thomaskirche in Leipzig in 1956, an offer he declined because he felt the environment in East Germany would be too repressive. He was appointed lecturer at the Conservatory of Music in Mainz and at the Cologne Hochschule f\u00fcr Musik in 1957, teaching and working on new editions of Bach, Handel, Reger, Mozart and Gluck, but he died of tuberculosis shortly after, in 1960.\u201d<\/p>\n

Prior to their residency in Berlin, Acacia will travel to Essen for a week of intensive master classes with their mentor Emile Cantor, violist from the Orpheus Quartet. \u201cThis is probably the most exciting bit\u201d says Anna. \u201cFrom Essen, we will go to Berlin for three weeks where we have four concerts and three days of recording Raphael\u2019s music.\u201d<\/p>\n

\u201cRaphael plays with form\u201d says Anna, excitedly, \u201cThe first string quartet has only two movements and the first movement is about 20 minutes long. It feels like there are more movements within it but he doesn\u2019t stop or name them. It has a fugue as well so you can definitely hear bits of Bach in there. And the second string quartet that we\u2019re performing in Berlin, unusually, has 5 movements. We have yet to play the String quartet No 6 so that’s going to be a revelation.”<\/p>\n

\u201cWhat\u2019s most fascinating\u201d she enthuses \u201cis that he was extremely clever and intellectual. He grew up in an incredibly musical environment and was always trying to break out of the mould.\u201d<\/p>\n

Bon voyage Acacia!<\/p>\n

Shamistha de Soysa for SoundsLikeSydney\u00a9<\/em><\/p>\n

Acacia Quartet\u2019s Berlin concerts will be performed at the Universit\u00e4t der K\u00fcnste on May 4 and the Paulus-Saal, Gemeindehaus Pauluskirche on May 12. Two other concerts will be private events held under the auspices of the Raphael Society.<\/em><\/p>\n

Acacia will be performing Raphael\u2019s String Quartet No2 at the Bowral Autumn this weekend and the String Quartet No 1 at the Sydney Opera House on March 31.<\/a><\/em><\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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