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Robert Mann (1920-2018)


Mark Stryker

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Violinist Robert Mann, who founded the Juilliard String Quartet, died earlier this week at 97. I wrote up a short remembrance shortly after his death was announced.

Robert Mann (1920-2018)

Saddened to learn of the death at age 97 of one of my heroes, violinist Robert Mann, founder of the Juilliard String Quartet and perhaps the most influential American classical chamber musician of all time. The Juilliard Quartet which began in 1946 and played its first concert in 1947, was the first homegrown chamber ensemble to take its place among the world's best. More than any other ensemble, it created an American style of chamber playing, which descended directly from Mann's own personality. It was muscular and intense, sometimes manically so, and it allowed for a maximum of individual expression by the four players without mortgaging a unified ensemble -- a classical analogue to a jazz band.

With Mann leading the way, the Juilliard stripped away the halo of Old World romanticism in favor of fresh interpretations rooted in the idea of the composer's intent. The quartet's gleaming approach was, in fact, itself an expression of mid-century modernist aesthetics, and Mann liked to say that he and his colleagues tried to play Beethoven as if it was new music and contemporary music as if it was Beethoven.

The Juilliard played a TON of contemporary music. It championed Bartok's six quartets from the get-go; Bartok's 4th, 5th and 6th quartets were only 20 years old or younger when the Juilliard got started. Early on it also made definitive recordings of Schoenberg, Berg and Webern. No group did more to elevate the profile of Elliott Carter, and it also played Kirchner, Fine, Sessions, Martino, Babbitt and so many other living American composers. Yet, it also played the hell out of the standard repertoire, and its exquisite yet tensile 1960s recordings of Debussy, Ravel, Beethoven, Mozart are among the glories of its discography.

Yes, in later years Mann's technique and intonation were not always reliable, and the quartet could sound woolly, even sloppy. Sometimes they crossed the line. But, generally, I didn't give a fuck. Perfection is overrated. Mann's insightful musical intelligence and the emotional punch of his music-making is what it was all about. When Mann finally retired (at 76 or 77), after a half century at the helm of the quartet, I wrote a story about him for the Detroit Free Press in which I quoted Juilliard cellist Joel Krosnick comparing him to basketball star Larry Bird. Mann was never the most naturally gifted violinist in terms of flawless technique or opulent tone, but through hard work, intellect and sheer force of will he transformed himself into a world-class musician. Bird was similar said Krosnick. "Can't run, can't jump, slow, but he scores 26 points a game, 12 assists, 13 rebounds and his team wins the NBA championship."

I spoke to Mann at the time, and what I remember most about the conversation was how his voice came barreling over the phone with enough force to knock me backwards. The music did that too. R.I.P.

Coda: The quartet's 1963 cycle of the Bartok quartets is desert island music for me. Robert Mann, first violin; Isidore Cohen, second violin; Raphael Hillyer, viola; Claus Adam, cello.

 

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8 hours ago, soulpope said:

R-10213347-1493496015-9770.jpeg.jpg

R.I.P ....

Love this recording. When I talked to Mann 20 years ago, one of the things he told me was while he was retiring from the quartet, he certainly wasn't going to stop playing string quartets, and he was sure he'd be getting together with friends at his home to play on on a regular basis. I specifically remember him saying that "The Art of the Fugue" was among his favorite pieces that he couldn't imagine not playing again.

Edited by Mark Stryker
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2 hours ago, JSngry said:

I wish I knew the music better, so as to be able to say more than just RIP.  In time, hopefully.

I believe you can`t go wrong with their take on Bach`s "Die Kunst Der Fuge" .... I`m actually not a dedicated follower of the Juilliard Quartet but their take on the early Beethoven String Quartets (bought this as japanese Import CD in the late 80`s)

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remained dear to my heart until nowadays ....

 

 

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I do have some of their work, LPs as well as CDs, but it just scratches the surface. Their Columbia box LP of the Bartok Quartets was my first exposure to both them and those quartets. I get that there's other ways to go about those quartets, but still, helluva ride anyway. Also have a later reading of the Beethoven late quartets that's a bit sloppy, but very soulful. And a few Elliot Carter things, which have been superceded, for me, by the Arditti, but...there's so much music from them, and I've gotten a late start. The bucket for my musical bucket list will never get full.

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On 1/6/2018 at 11:16 AM, JSngry said:

I do have some of their work, LPs as well as CDs, but it just scratches the surface. Their Columbia box LP of the Bartok Quartets was my first exposure to both them and those quartets. I get that there's other ways to go about those quartets, but still, helluva ride anyway. Also have a later reading of the Beethoven late quartets that's a bit sloppy, but very soulful. And a few Elliot Carter things, which have been superceded, for me, by the Arditti, but...there's so much music from them, and I've gotten a late start. The bucket for my musical bucket list will never get full.

The journey never ends until the journey REALLY ends, you dig?

Re: Juilliard and Beethoven. The Juilliard recorded two complete cycles of the quartets for Columbia/Sony -- one in the studio between 1964-70 and then and live in the early '80s in the then-new digital format. I think the earlier set is much preferable -- more in the group's prime, better balance of go-for-broke energy, spontaneity and unified ensemble. The latter has live electricity -- it would have been great to be at the concerts -- but it is true that Mann isn't as consistent as earlier and the "sloppiness" you refer to doesn't play as well upon repeated listening on record.

Now, the quartet did start an an aborted Beethoven cycle when it was signed to RCA from 1957-63. They did Op. 95, 131, 132 & 135. These are tremendous -- my favorite line-up of the quartet.  A really good place to start with the Juilliard's standard rep aesthetic is this Testament CD that pairs Op. 131 with Schubert's Death and the Maiden. Used prices are pretty good. https://www.amazon.com/Juilliard-String-Quartet-Beethoven-Schubert/dp/B0009VY6T6/ref=sr_1_1?s=music&ie=UTF8&qid=1515346971&sr=1-1&keywords=juilliard+string+quartet++beethoven+and+schubert

A number of the Juilliard's recordings from its RCA days were issued on Testament. I would also strongly recommend Ravel/Debussy/Webern disc.

Of course, you can always look for the LPs ...

And there's YouTube for quick reference. 

 

Edited by Mark Stryker
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