This new album of two piano quartets by Johannes Brahms (1833-1897) consists of pianist Lars Vogt's last recordings. Before his premature death and between treatments, Lars Vogt was able to record a multi-award-winning album of piano chamber music works by Schubert together with Christian Tetzlaff and Tanja Tetzlaff, as well as albums of Mozart's and Mendelssohn's piano concertos. However, a project to record Brahms' complete piano quartets was left unfinished after the studio recording of Piano Quartet No. 2 was completed. With the help of recording producer Christoph Franke, we are now able to offer this recording together with Piano Quartet No. 3 from a live concert performance in connection with the studio recording. Combined, these make up Lars Vogt's last recordings. Violinist Christian Tetzlaff, violist Barbara Buntrock and cellist Tanja Tetzlaff offer stellar performances in these landmark recordings and fulfill Lars Vogt's late wish to have these performances released.

The century was only twenty-one years old, and so was Ernst Krenek, when his Serenade op. 4 was premièred on 31 July 1921 at the newly launched “Donaueschingen Chamber Music Performances for the advancement of contemporary music.” The event soon came to be known as Donaueschingen Festival, now one of the oldest specialized music festivals worldwide: Krenek’s music has occasionally been heard there since then – albeit as a series of utterly contrasting works one would hardly ascribe to the same composer.

The 21st century has seen a certain revival of interest in Felix Mendelssohn's chamber music, and an entry in the field from the German audiophile label MDG is welcome. In the realm of engineering, this recording is superb even by MDG's high standards, with startlingly clear, immediate, yet never overwhelming sound captured at one of the label's favorite haunts, the Konzerthaus der Abtei Marienmünster (a historic abbey). The effect is impressive in the String Quartet No. 2 in B flat major, Op. 87, a work in which Mendelssohn pulls out all the stops to create an orchestra-like texture. It's a tremendously exciting piece, not very Mendelssohn-like, and not much like anything else in the chamber music repertory.