Haydn: String Quartet, Op. 64 No. 1 in C major, etc.

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The so-called Lark (No 5), with its soaring opening melody and moto perpetuo finale, is perhaps the most immediately fetching of all Haydn's quartets. But No 6 is at least as fine, with its intimate... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: 8550673
Label: Naxos
Length: 62 minutes

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Haydn: String Quartet, Op. 64 No. 1 in C major

Work length19:33

$5.00

$6.50

Kodály Quartet
Recorded: 25-29 April 1992
Recording Venue: Unitarian Church, Budapest

I. Allegro moderato

Track length7:06

$2.00

$2.60

II. Menuetto: Allegretto ma non troppo

Track length4:36

$1.00

$1.30

III. Allegretto scherzando

Track length4:13

$1.00

$1.30

IV. Finale: Presto

Track length3:38

$1.00

$1.30

Haydn: String Quartet, Op. 64 No. 2 in B minor

Work length18:59

$4.00

$5.20

Kodály Quartet
Recorded: 25-29 April 1992
Recording Venue: Unitarian Church, Budapest

I. Allegro spiritoso

Track length5:01

$1.00

$1.30

II. Adagio ma non troppo

Track length6:37

$1.00

$1.30

III. Menuetto: Allegretto

Track length3:12

$1.00

$1.30

IV. Finale: Presto

Track length4:09

$1.00

$1.30

Haydn: String Quartet, Op. 64 No. 3 in B flat major

Work length24:26

$5.00

$6.50

Kodály Quartet
Recorded: 25-29 April 1992
Recording Venue: Unitarian Church, Budapest

I. Vivace assai

Track length5:51

$1.00

$1.30

II. Adagio

Track length7:46

$2.00

$2.60

III. Menuetto: Allegretto

Track length5:27

$1.00

$1.30

IV. Finale: Allegro con spirito

Track length5:22

$1.00

$1.30

Reviews
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Reviews

2010

The so-called Lark (No 5), with its soaring opening melody and moto perpetuo finale, is perhaps the most immediately fetching of all Haydn's quartets. But No 6 is at least as fine, with its intimate and intensely argued opening movement, its poignant, exquisitely textured Andante and a finale full of instrumental fooling and insouciant contrapuntal virtuosity. Of the other works, No 2 is one of Haydn's most astringent pieces, from its tonally deceptive opening to the mordant, unsettling humour of the finale. Quartets Nos 3 and 4 return to a more familiar vein of sociable wit. Both are endlessly subtle and surprising in their arguments, with cantabile slow movements of peculiar candour and eloquence.
Quartet No 1, the least favoured of the six is certainly the plainest in its thematic ideas. But it's an absorbing, immensely sophisticated piece, exploring an astonishing range of textures; the recapitulation of the leisurely first movement opens up marvellous new harmonic vistas, while the central development of the finale is a canonic tour de force. The Kodály Quartet has rightly won plaudits for its wonderfully civilised playing; mellow and lyrical, far removed from the highly strung brilliance cultivated by many modern quartets. Ensemble and intonation are first class, tempos generally spacious, with broad, natural and beautifully matched phrasing.
It's at its very finest where Haydn is at his most searching; and the Quartets Nos 2, 5 and 6 each receive outstanding, deeply considered performances. In one or two movements the Kodály's penchant for slowish tempos leads to a slight dourness. Against that, it brings a deliciously lazy Ländler lilt, enhanced by the first violin's portamentos, to the Trio of No 6, and a grave, inward intensity to each of Haydn's slow movements. The recording, made in a Budapest church, is resonant and less intimate than is ideal in this music.

Haydn: String Quartet, Op. 64 No. 1 in C major, etc.

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