The youthful Pacifica
Quartet seems to be earning itself something
of a name. In a field dominated by such
as the august Leipzig Quartet the Pacifica
certainly brings some special qualities
to this repertoire. I can see why they’re
admired. The first thing that strikes
one is their scrupulous sensitivity
and corporate warmth.
It is immediately evident
in the 1823 E flat major that tonal
breadth, phrasing niceties and fine
command of the concertante element of
these works are the watchwords of their
performances. Maybe the opening could
be very slightly more wittily shaped
but the slow movement has such affectionate
solicitude that doubts are silenced.
And despite the clarity of the fugal
entry points in the finale warmth is
never far away. The Pacifica’s internal
balance is first class and their control
over the release of tension in the E
flat major (Op.12) is impressive not
least the characterisation of the Canzonetta
and the full espressivo weight they
vest in the slow movement. Indeed their
hell-for-leather playing in the finale
put me in mind of the Octet. There’s
certainly propulsion in the Op.80 but
it’s not of the excessive speed variety;
it’s more to do with crisp accents and
rhythm. They relax knowingly into the
lyric sections without losing momentum
and as ever their slow movements are
a highlight, with caressing phraseology
and real interplay.
They miss no tricks
with the inward Adagio introduction
to the A minor Op.13 with a full complement
of dynamic contrasts, delicacy and sensitivity
in its slow movement. I did cavil at
the rather laid back Intermezzo but
the finale makes amends. In the trio
of quartets that make up Op.44 one can
enjoy the sheer affection they clearly
feel for these works; sample the sheer
heart tug of the E minor’s Andante or
the cellistic kick in the Scherzo of
the E flat major where vivacity is optimum.
The same quartet’s slow movement is
characteristically warm and affectionate
and wonderfully detailed for all that
– not at all inert and the sense of
intimacy is total.
There are still a few
points that some may note; they don’t
really convincingly characterise the
two central movements of the D major,
taking a quasi-andante tempo for the
Minuet that just doesn’t work alongside
their warm slow movement. Sometimes
their affection leads them into minor
miscalculations of this kind. And maybe
they could have heeded the agitato
instruction in the Presto finale of
the E minor rather more. Tension could
have been that much better screwed up.
I should note that they dispense with
exposition repeats in the outer quartets
of the Op.44 set.
Still the balance very
much favours the Pacifica in this body
of work. Along with extensive notes
and a suitably warm and wonderfully
detailed recording they bring insight,
imagination and colouristic sensibility
to these quartets and the ancillary
single movements that make up the quartet
cycle. I find them consistently singing,
illuminating and devoted interpreters.
Jonathan Woolf
Pacifica Quartet 
