It was fashionable
for eighteenth century composers to
write for the genre of the string quartet
and music publishers made it a financially
lucrative assignment. Mozart composed
his first string quartet in G major
K.80 aged fourteen in a single evening
in Italy in 1770, but the work is really
a Divertimento highly influenced
by Sammartini of the Italian instrumental
school. Between 1772 and 1773 Mozart
completed twelve more string quartets
before his full creative power became
apparent.
By 1782 Mozart had
become familiar with and admired many
of the great string quartets of Haydn
particularly the six ’Russian’ quartets
Op.33 which had opened up for him substantial
artistic challenges that he was to explore
enthusiastically. Mozart did not markedly
advance the form of the string quartet
as used by Haydn. However his individuality
enabled him to succeed in using a depth
of feeling and thought rarely encountered
in Haydn together with the courage to
experiment with progressive harmonic
and melodic constructions.
This release on Warner’s
mid-price Elatus label contains four
of the six string quartets which were
composed between 1782-1785 and dedicated
to Haydn. Poetic and dramatic in content
and widely considered to be the greatest
of Mozart’s quartets, never before had
the composer been so complete a master
of his means. According to eminent music
writer David Ewen nothing that Mozart
had previously written, "reveals
such freedom of structure, such as unorthodox
techniques, iconoclasm, varied invention
and high flights of inspiration."
These string quartets convinced Haydn
of Mozart’s greatness but it cannot
be said that he always understood them.
The first work on the
recording double CD set is the G
major, String Quartet No. 14 K.387 ‘Spring’.
Composed in 1782 and the first of the
six Haydn quartets the work shows Mozart’s
gift for polyphonic writing. The Alban
Berg Quartet have full measure of the
dense and elaborate work and are particularly
impressive in the second movement Menueto:
Allegro moving effortlessly to the
depths of despair in the sombre trio
section.
The String Quartet
No.17 in B flat major, K.458 ‘Hunt’
completes the first CD, the title
of which is explained by the pace of
the opening theme suggesting a hunting
call. On the surface the quartet appears
to be the lightest and least profound
of the set of six and closest in style
to that of Haydn however it is an uplifting
and peaceful work of no less bold invention.
In a stylish and controlled performance
the players of the Alban Berg Quartet
bring out the expressive beauty and
stylish perfection of the quartet. I
particularly enjoyed the joyful and
lively opening movement Allegro vivace
assai.
The second CD in the
set commences with the String Quartet
No.15 in D minor, K.421. In this
direct and progressive work we hear
Mozart’s use of bold modulations and
daring harmonic changes. The Alban Berg
Quartet successfully bring out the atmosphere
of dark colours in a work of prevailing
sobriety and underlying melancholia.
I would have preferred more finesse
and brooding passion in the second movement
Andante which if played appropriately
can be one of Mozart’s most serene and
meditative episodes in all his music.
There is exceptionally fine playing
from the talented Alban Berg ensemble
in the spirited and somewhat agitated
Siciliano melody that opens the
Finale.
The String Quartet
No.16 in E flat major, K.428 has
been described as the most concise,
the most secret and undoubtedly the
most abstract of those dedicated to
Haydn. The contrast of austere meditation
and gushing optimism could be revealing
of Mozart’s mercurial temperament. There
is a real peacefulness and quiet beauty
in the first movement Allegro ma
non troppo so sensitively played
by the Alban Berg players. The Quartet
are heard at their sharpest and energetic
best in the good humoured final movement
Allegro vivace.
The Elatus release
concludes with the String Quartet
No.20 in D major, K.499 ‘Hoffmeister’
which does not form part of those
quartets dedicated to Haydn. Composed
in 1786 between the ‘Haydn’ Quartets
and the ’Prussian’ Quartets of 1789-1790
the ‘Hoffmeister’ Quartet was published
by Mozart's friend Franz Anton Hoffmeister;
himself a prolific composer. The ’Hoffmeister’
is a gracious work and I particularly
like the clear and direct interpretation
of the Alban Berg Quartet in the first
movement Allegretto and their
deeply emotional Adagio is most
impressive.
Although we are not
told in the rather brief booklet notes
I understand that these quartets on
this Warner Elatus release were originally
recorded between 1976 to 1979 and released
on the Teldec label. These early recordings
from the Alban Berg Quartet, unlike
their more recent offerings on EMI,
can stand comparison alongside the very
best interpretations of which there
are many and the mid-price makes the
release especially attractive. The listener
is spoilt for choice as the performance
standard is extremely high with interpretations
from most of the premier quartets such
as the Italian Quartet, Talich Quartet,
Chilingirian Quartet et al and
the final choice is very much down to
personal taste. My personal selection
would be the mid-price versions from
Quatuor Mosaïques using period
instruments from the Astrée Naïve
label on E 8843; E 8844 and E 8845 (or
a five CD box E 8889). With playing
of real distinction the interpretations
from Quatuor Mosaïques offers new
insights together with state-of-the-art
sound.
This attractive mid-price
Elatus release from the Alban Berg Quartet
is not my first choice in these ‘Haydn’
quartets but few listeners will be disappointed.
The playing and interpretations are
very fine together with decent sound
quality. These performances will provide
much satisfaction and should be considered
for any collection.
Michael Cookson
Alban Berg Quartet 
