Spanish Basque composer Andrés Isasi made his first appearance 
                  on Naxos nearly a decade ago (8.557584, review), 
                  so this sequel has been a long time coming. However, two further 
                  volumes towards this complete quartets series are promised and 
                  have indeed already been recorded by the Isasi Quartet. As the 
                  accompanying notes explain, there are three more full works 
                  extant, as well as a three-movement quartet that was likely 
                  unfinished, a few fragments and two stand-alone short pieces 
                  for the medium. With luck those discs will pack them all in 
                  and be more generously furnished than this one. 
                    
                  Written just over a decade apart, these two quartets are fairly 
                  similar in essence, if less so in practice. Elegance, wistfulness, 
                  folk influences, memorable melodies, minor keys and a lack of 
                  pretentiousness - these are prominent features of both. As the 
                  promotional blurb says, Grieg and Dvořák are two 
                  of the more obvious references, but so is someone like Weingartner 
                  in the more Germanically oriented A minor work. There is at 
                  any rate hardly a trace of Spanish or Basque nationalism in 
                  these works - lending Naxos's 'Spanish Classics' ticket a touch 
                  of irony. Despite their name, the Isasi Quartet are a primarily 
                  German ensemble, an attribute that fits rather well with Isasi's 
                  style. This is an impressive debut for Naxos by the Quartet: 
                  sympathetic and thoughtful, technically adept and cogent. 
                    
                  Sound quality is pretty good, clean and spacious with just a 
                  hint of perforation at the edges. One minor complaint is that 
                  the final milliseconds of each track have had natural reverberation 
                  quickly killed by human intervention. This happens surprisingly 
                  frequently even in modern recordings where extreme shortage 
                  of space is rarely an issue; only producers will know why they 
                  do such a pointless thing, but at least in this case the effect 
                  is minuscule. 
                    
                  Richard Whitehouse's descriptive notes are typically informative 
                  and well written. Roll on, volume two.   
                  
                  Byzantion 
                  Collected reviews and contact at artmusicreviews.co.uk 
                  
                    
                
                
                   
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