The first three of Joseph Haydn’s miraculous Opus 76 String Quartets – this great composer on an exalted roll – enjoy vibrant outings from the Chiaroscuro Quartet, led by Alina Ibragimova, a period-conscious group that nevertheless makes a colourful sound, with much attention given to phrasing and dynamics, displaying an interactive relish for this ever-inventive music that communicates directly and timelessly with the listener. Whatever the tempo or the mood of the twelve movements, each one a new adventure, these players’ judgement is illuminating: the Adagio of the G-major Quartet (No.1) is especially soulful, for example, and although there are times when some vibrato would be welcome, one can only admire the address afforded to detail and also the musicians’ pliable approach to expression as well as the smiles-all-round at Haydn’s wit, contrasted by the drama and pathos underlying the first movement of the D-minor ‘Fifths’ Quartet. All repeats are observed including sonata movements’ second halves (structurally important and making for significant musical points) and the four instruments are captured ideally by Fabian Frank’s tangible recording, produced by Andrew Keener in the Sendesaal, Bremen. BIS BIS-2348 [SACD]. No doubt Quartets IV-VI will follow in due course. By the way, please remember to stand when the slow movement of the ‘Emperor’ is reached.
Haydn’s Opus 76 String Quartets – I-III – Chiaroscuro Quartet [BIS]
Good to have those ‘sonata” 2nd halves repeated. Essential. But what’s the Chiaroscuro’s take on omitting the 3rd movement Da capo repeats – aside from customary practice?
I guess I should have mentioned this aspect, although it seems a grey area as to whether the Minuet sections should be played twice again following the Trio, which does seem logical, or whether once is enough, as a reminder, as it were. There is plenty of room on this 71-minute disc for these musicians to have gone through the Minuet sections twice again, so their decision seems solely an artistic one. Colin
It IS a grey area, agreed – but one with enough evidence to suppose that in the classical period it was customary to observe DC repeats, unless instructed otherwise (Beethoven’s occasional but relevant “senza repezione” instructions, for instance). Going back to the eighties, I’ve experimented with the all-repeat approach on several CD productions, generally I’ve found to the structural advantage of the music. Comparing recordings of Haydn’s Mercury Symphony recently, it was instructive to note that Hogwood, Solomons and Pinnock follow the DC repeats, but Adam Fischer and Giovanni Antonini don’t. Interesting territory.