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

“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.” Gramophone Classical Music Guide, 2010

“This is poised and civilised music-making, much of which is familiar and all of it intensely thoughtful and revealing...the playing of slow movements especially seems to anticipate the profundity of Beethoven. If you buy only one Haydn release in this year, it should be this set.” The Guardian, 28th August 2009 ****

“The most relevant comparisons for this collection are the Aeolian Quartet on Decca and the Kodály Quartet on Naxos. The all-digital Naxos series features performances that are, in the main, musically reliable and technically proficient.
But turn back to the 1973-6 Aeolian series, and every work becomes an event, every quirk of harmony, rhythm or timing is etched with maximum relish.
Comparative disc layouts begin to differ from CD 3, and the Angeles omit The Seven LastWords, a work which, beautiful as it is, wasn't originally written for string quartet. Recordingwise, Philips favours a warm, open sound, balanced much as you would hear it from the centre stalls in a smallish-size concert hall. Decca's analogue recordings are closer, dryer, more sensitive to extraneous noise and commonly balanced in favour of Emanuel Hurwitz's first violin.
It's a clear and intimate sound frame and the leader bias actually suits the divertimento-style early quartets, but Philips's more refined engineering makes for less strenuous listening in concert-length sessions. A handful of edits are the only blots on Philips's otherwise immaculate aural landscape.
The svelte texture of the Angeles' pooled sound, their consistent evenness in full chords and the musical like-mindedness of individual players, whether in excited prestos or in shared rubato is admirable. As to contrasts in playing styles, think of the relatively smooth-toned Juilliard or Emerson Quartets (Angeles) as compared with the internally differentiated Amadeus Quartet (Aeolian). The Angeles are generally lighter, faster and subtler in their use of tone colouring whereas the Aeolians' roster of virtues includes strong (even emphatic) characterisation, consistently flexible phrasing and a more pungent approach to rhythm.
Surfing the set for good sampling points brings us, initially, to the early quartets, where both groups sport some superb first-violin solo work, tastefully inflected with Lenski, more candidly expressive with Hurwitz. A particularly telling comparison is provided by the quietly contrapuntal Minuet of Op 17 No 1, where the Angeles' seamless legato contrasts against the Aeolians' near staccato. The exquisite Adagio of Op 20 No 6 is another good place to compare, the Angeles with their perfectly timed pauses, warm cello line and overall restraint set against the more romantic, even rhapsodic, Aeolian. Listening to the first bars of Op 33 No 1 is like eavesdropping on a small gathering mid-conversation, where the cello line gradually gains in urgency. The Angeles' sotto voce handling of the scherzo to Op 33 No 3 is wonderful: it's rather more pensive than the Aeolians and marks much more of a contrast with the chirping trio.
Op 50 No 4's Andante anticipates the dramatic interjections that trouble various late Schubert slow movements. Both groups are effective here, though when the cello marks an expected change of key two minutes or so into the movement, it's the Aeolian's Derek Simpson who makes the biggest impact: you can almost see the rosin erupt from his strings. In Op 50 No 5 late Beethoven springs more readily to mind, but there the Angeles' extra speed and restraint is more effective. Note how beautifully they negotiate the quiet alternation between upper and lower voices towards the end of Op 50 No 6's Poco adagio and the sudden blossoming that follows.
Then again, Op 54 No 1's mobile Allegretto second movement harbours the potential to switch from tenseness to lyrical effusiveness, which the Angeles exploit to the full, as they do for the rhapsodising Adagio of Op 54 No 2. Late Beethoven is evoked once more, this time the Cavatina from Op 130.
Beam up around three minutes into the Adagio of the Lark Quartet (Op 64 No 5) and you'll note how skilfully the Angeles cue a ritardando, while the bracing finale to Op 74 No 3 has just the right bounce to offset all the breathless excitement. The Sunrise Quartet (Op 76 No 4) opens like a spring flower (never more so than in the Angeles' ecstatically controlled performance) and Op 77 No 1's cheeky Allegro moderato bounds in with perfectly modulated high spirits.
Turning to other competition, the Lindsays, Amadeus, Vienna Konzerthaus, Quatuor Mosaïques, Pro Arte and Takács, all have added substantiallyto the Haydn quartet discography, and all have their value. However, in this particular context it really is a head-to-head contest between two 'complete' sets similarly presented.
Richard Wigmore contributes detailed annotation, quite different from Lindsay Kemp's overview for Decca, but just as useful and equally well written. The Angeles appeal perhaps primarily for their restrained expressiveness and consistent attention to detail. Philips's superior recording is another bonus. The Aeolians generate more immediate heat but, ultimately, the Angeles' intelligence and cooler blending pay the higher musical dividends.” Gramophone Classical Music Guide, 2010

“The playing has both warmth and refinement of detail and the readings are full of character. They never leave the impression that they are too studied or lacking in spontaneity; indeed, one often has the feeling in these studio recordings that one is listening to live music-making.” Penguin Guide, 2011 edition