Chronology:
String Quartet in E flat major (1823)
Octet for strings in E flat major, Op.20
(1825)
String Quartet (No. 2) in A minor, Op.13
(1827)
Fuga movement in E flat major, Op.81/4
(1827)
String Quartet (No. 1) in E flat major,
Op.12 (1829)
String Quartet (No. 4) in E minor, Op.44
No.2 (1837)
String Quartet (No. 5) in E flat major,
Op.44 No.3 (1838)
String Quartet (No. 3) in D major, Op.44
No.1 (1838)
Capriccio movement in E minor, Op.81/3
(1843)
String Quartet (No. 6) in F minor, Op.
posth. 80 (1847)
Andante movement (Tema con Variazioni)
in E major, Op.81/1 (1847)
Scherzo movement in A minor, Op.81/2
(1847)
Though everything
else may appear shallow and repulsive,
even the smallest task in music is so
absorbing, and carries us so
far away from town, country,
earth, and all worldly things,
that it is truly a blessed gift of God.
Mendelssohn
Mendelssohn, sometimes
known as the ‘classical romantic’, was
revered in his lifetime as one of the
very great composers. He has become
considerably less regarded since the
mid-twentieth century, although in recent
years the tide seems to be turning in
his favour. Only a handful of compositions
has kept Mendelssohn’s name in the spotlight.
Masterworks such as, the Violin Concerto,
the Overture to a Midsummer Nights
Dream and the Octet for
strings are the still the most likely
to be encountered on record or in concert,
and the Scottish and Italian
symphonies and the Hebrides Overture
(Fingal’s Cave) have also
remained popular. Of the composer’s
substantial choral output only the oratorio
Elijah and to a lesser extent
St. Paul are still performed
by choral societies.
Musicologist Edwin
Evans has described how Mendelssohn
was born into the romantic era, but
his aristocratic fastidiousness made
him averse to the romantic excesses
of his time, even when writing for the
orchestra. He was perfectly comfortable
in the old world of classical form and
refinement but infused with a new lyricism.
For many years it became fashionable
to disparage Mendelssohn on account
of his gentle romanticism that to later
generations appeared mere sentimentality.
Subsequently, a reassessment has resulted
from the reaction against later excesses.
Gradually Mendelssohn became rehabilitated,
not for his romanticism, but for his
almost classical formal elegance. It
is now recognised that whatever may
have been Mendelssohn’s weaknesses,
his sense of classical form was well-nigh
perfect. He excelled in understatement
and nuance, in subtle, colouristic orchestrations
that lent his scores an undeniable freshness
and vividness. Mendelssohn only on rare
occasions attempts to achieve significant
depth and drama in his "cultured,
well mannered, refined,
and exquisitely fashioned music
…" (David Ewen) Musicologist Ewen
explains how Mendelssohn did not aspire
to the new kinds of romantic musical
expression striven for by contemporaries
such as Berlioz, Schumann and Liszt.
He did not seek out new romantic forms,
being thoroughly satisfied with the
style and structures of the Viennese
classical period. "He did not
particularly try to make music a medium
for the projection of extra-musical
experiences, ideals or sensations."
Biographer Daniel Gregory Mason says
of Mendelssohn, "his style is
too fluent, too insinuating and
too inoffensive, to embody tragic
emotion. It lacked rugged force,
the virile energy, the occasional
harshness and discordance… its reading
of life in which there is ugliness,
crudity and violence, as well
as beauty, is too fastidiously
expurgated."
With particular regard
to Mendelssohn’s chamber music, Musicologist
R. Larry Todd in his essay on ‘The
String Quartets of Mendelssohn’
contained in the Emerson’s Deutsche
Grammophon set writes, "Chamber
music remained a constant preoccupation
of Mendelssohn throughout the meteoric
career that established him at the forefront
of German music during the 1830s and
1840s. Already at the age of seven,
the boy was coached in ensemble playing
by the Parisian violinist Pierre Baillot,
and among Mendelssohn’s earliest surviving
works are various pieces for violin
and piano from 1820, and a series
of learned fugues for string quartet
from 1821, all written under
the supervision of his composition teacher,
Carl Friedrich Zelter."
Around 1825 Mendelssohn
and his family moved into a grand mansion
in the Leipzigerstrasse on the outskirts
of Berlin. In the extensive grounds
was a garden house which contained a
room large enough to seat a sizeable
audience at the family’s Sunday morning
chamber concerts. It was at these gatherings
that the young Mendelssohn gained much
of his musical education, both as a
listener and performer. As well as the
piano he also played the violin and
the viola and regularly took part in
performances of the several String
Symphonies he had already composed.
From these early years, examples of
Mendelssohn’s chamber scores include
the String Quartet in E flat major
composed in 1823, when he was fourteen,
the three Piano Quartets,
the Piano Sextet and the
Octet for strings, Op.20 from
1825, his sixteenth year.
Mendelssohn’s music
in general is becoming far better served
in the catalogues and his works for
String Quartet can now boast many top-class
versions. Complete sets of the Quartets
have been around for some time; notably
those from the Cherubini on EMI 585693-2;
585805-2 and 586104-2, the Melos on
Deutsche Grammophon 415 883-2GCM3 from
1987, the Coull on Hyperion CDS44051/3
and the first complete set to be recorded
by the Bartholdy in 1973 on Acanta 43
075. These works are all now firmly
established in the repertoire.
The market for Mendelssohn’s
complete works for string quartet is
now an extremely crowded and competitive
arena, with several sets of the highest
quality being newly released. The inescapable
result of reviewing so many accomplished
recordings exposes us to the danger
of falling into the well-used bag of
superlatives. In this ‘labour of love’
the complete sets that I have included
in this survey to review are from the
Aurora on Naxos; the Talich on Calliope;
the Henschel on Arte Nova; the Bartholdy
re-released on Arts Music; the Emersons
on Deutsche Grammophon (including the
Octet for strings) and the Pacifica
on Cedille. In addition, the Leipzig
Quartet have recently concluded their
complete series (plus the Octet)
on the MDG label MDG 307 1055-2;
MDG 307 1168-2; MDG 307 1056-2 and MDG
307 1057-2. I have only two of the four
volumes and have therefore not included
their set in this survey. At the time
of writing this review I heard on the
radio that The Eroica Quartet have just
completed their set of the complete
string quartet works on Harmonia Mundi.
String Quartet
in E flat major (1823)
Mendelssohn wrote the
String Quartet in E flat major in
1823 when he was fourteen. Although
published posthumously in 1879 and never
allocated an opus number, it has been
severely neglected over the years, despite
its special charm and invention. In
the work, together with the Op.13 and
Op.12 String Quartets, we find
a youthful composer appearing, confronting
and partially transcending the classical
traditions of his predecessors Haydn
and Mozart.
I would not disagree
with descriptions of the quartet as
being a ‘student exercise’ with the
treatment of instrumentation restricted
and tentative. Particularly striking
is the prominent part for the first
violin, a practice that he would never
completely remove from his string quartets.
Also of note is the sequence of the
movements and their tempos. With regard
to form, in all but one of his other
string quartets (Op. 13), Mendelssohn
placed the slow movement third. In this
String Quartet in E flat major he
places the slow movement as the second
movement, as Haydn and Mozart usually
did. The work is conservative, competently
written with few shifts in modulations
or tonic transitions.
The sonata form
of the opening movement allegro moderato
is very regular in its layout with
two conventionally patterned themes
through exposition, development and
recapitulation. On Naxos, the Aurora
give an elegant performance of delicate
string writing of Viennese charm. The
commanding forces of the Bartholdy are
stately and sophisticated with Viennese
charm in abundance. They seem to have
all the time in the world and play with
a confident swagger. Unfortunately there
is a slight glitch in the sound at point
7:37. The Pacifica wonderfully convey
the young composer’s tentative string
writing with the prominent part for
the first violin. There is briskness,
much sparkle and vitality in the spirit
of Haydn and Mozart from the Talich
compared to the Emersons who are weightier
and forthright rather than lightweight
and delicate. The Henschel in their
interpretation offer ardent playing
with a sense of a real enthusiasm and
enjoyment.
The second movement
adagio non troppo is much more
lyrical and chromatic and the influence
of Haydn and Mozart is strongly felt.
The Auroras offer appropriate charm
and finesse in their reading and the
Bartholdy are abundantly refined and
extremely expressive. There is auspicious
playing from the Pacifica that has a
high degree of sophistication. The Talich
are tasteful and unlaboured without
affectation while the Emerson are rich
and expressive. There is little sense
of charm in the edgy interpretation
from the Henschel who uncover a sense
of foreboding in Mendelssohn’s writing.
The penultimate movement
is a sprightly minuet that is
very reminiscent of the eighteenth century.
The Aurora could have been more spirited
and swifter in an interpretation that
is somewhat wanting in vitality. A Haydnesque
reading from the Bartholdy, so spirited
and dance-like, avoiding the temptation
to go too swiftly. The vivacious and
fluent Pacifica are successful here
as are the lively Talich who play superbly
with their impressive rich tone. The
Emerson have a big sound, purposeful
and strong that contrasts with the Henschel’s
playing that is rather tentative, needing
a touch more spirit and freedom of expression
to be ideal.
Mendelssohn then proceeds
to show off his skill in a double-fugue
finale, where for the
first time we hear the second violin,
viola and cello as individuals. Fugal
finales were characteristic of Haydn’s
early string quartets showing the young
Mendelssohn drawing inspiration from
his predecessors. In the finale the
Aurora seem unsettled and hurried in
this hectic and crowded movement. The
Bartholdy show considerable energy and
urgency and their vital playing is of
the highest possible order. Enthusiastic
and strenuous playing from the Pacifica,
however the Talich are less satisfactory
here as their energetic playing is rushed
and agitated without their usual element
of control. Robust and noble playing
from the Emerson and the interpretations
from the Henschel offer a wonderful
sense of ensemble and enjoyable music-making.
In a highly competitive
field, those choosing the version from
the Aurora in the E flat major quartet
(1823) will receive unaffected
playing of considerable charm and grace
rooted in the classical tradition. The
accomplished Bartholdy on Arts Music
are my first choice. A superb achievement
and it is difficult to imagine the work
being played better; totally convincing.
The Pacifica are my third choice offering
a searching and impassioned interpretation.
Using considerable vibrato their remarkable
playing is well shaped, thoughtful and
smooth. Spirited and energetic, full-bodied
and dramatic accounts from the Talich
with one or two rough edges. The Emerson
are as secure and expressive as one
would expect. Richly burnished playing
that tends to the romantic rather than
the classical style. The splendid account
from the Henschel is my second choice
version. Their ardent and enthusiastic
playing in the classical tradition has
an appealing edge and bite.
String Quartet
in A minor, Op. 13
Mendelssohn composed
his String Quartet (No. 2)
in A minor, Op. 13 when he was eighteen
in 1827, the year of Beethoven’s death.
Although the work has a later opus number
it was actually composed two years earlier
than the String Quartet (No.
1) in E flat major, Op.12.
It is not surprising that this early
period work uses the string quartets
of Haydn, Mozart and Beethoven as stylistic
models and builds up from those. The
score abounds in references to Beethoven.
In particular the influence of Beethoven’s
String Quartet in A minor, Op.
132, of 1825 is clear from the outset.
They employ a common key and share several
other similarities. There are also references
in the adagio to the fugato
of Beethoven’s String Quartet
No. 11 in F minor, ‘Serioso’,
Op. 95.
The A minor String
Quartet is immediately appealing
and packed with melody and invention.
Although Mendelssohn was only eighteen
it is a mature work with his individual
voice clearly discernible. By this time
Mendelssohn had already composed two
masterworks; the Overture to a Midsummer
Night’s Dream and the Octet for
strings. The A minor String Quartet
displays the composer’s skill at the
cyclical form, is highly contrasted
in mood and provides a degree of passion
and drama not normally associated with
Mendelssohn. Compared to the earlier
String Quartet in E flat major from
1823, the increase in independence,
individuality and autonomy in handing
the musical material is astonishing.
Throughout the work Mendelssohn incorporates
the technique of using a ‘song fragment’
to generate key themes and its variants
and expansions in the manner that Schubert
employed in his chamber scores.
Lyricism and high drama
combine in a highly expressive opening
movement that is led by the first violin.
Lyrical melodies, rich harmonies and
symmetrical phrases are a feature of
this passionate and vigorous movement.
The Aurora go swiftly here and are rather
jerky in parts, although they settle
down as the movement progresses. There
is a typically powerful and dramatic
reading from the Bartholdy that contains
considerable tension and anxiety. We
find exhilarating playing by the Pacifica
in what is rather a bumpy ride and the
excellent Talich offer intuition with
a striking sensitivity in the passionate
pages and with storminess in the vigorous
parts. There is total technical control
and exciting and spontaneous playing
from the smooth and classy Emerson.
The Henschel are alert and vital. Their
ensemble playing is as if they were
one.
The second movement
contains a complex structure and a dramatic
climax. The marking adagio non lento
means ‘slow not slow’, where the
adagio refers to the intensely
felt mood and non lento denotes
the required deliberate pace. The
Auroras take the movement lovingly with
attention to the feeling of the piece
rather than to the polish and the superb
Bartholdys provide a mood of nervousness
and intensity. There is aching emotion
from the Pacifica, who come across as
uncomfortable in the changes of pace.
Ensemble playing out of the top-drawer
in the gravely beautiful interpretation
from the Talich, who resist the temptation
to take the piece too slowly. The Emerson
offer smooth and sensitive high quality
playing, with a restrained passion that
is perhaps too tentative at times. The
Henschel marvellously convey the torment
and aching sorrow that pervades this
second movement.
In the third movement
intermezzo: allegretto con moto the
pizzicato accompaniment punctuates
a folk-like main theme whose dancing
gaiety is contrasted with an agitated
staccato mid-section. We have
the elfin mood of the speedy trio
and a song-like intermezzo that
approaches absolute musical perfection.
The Aurora are adept and agile throughout
the movements changing moods. I was
literally made to sit up by the breath-taking
playing of the Bartholdy and anxious
not to miss a second of their account.
The Pacifica with revelatory clarity
are vital and alert with beautifully
judged shaping, phrasing and dynamics.
There is stately and seamless playing
from the Talich with judiciously chosen
tempi. The Emerson are to be congratulated
for adapting superbly to the fiendishly
difficult shifting demands of the movement
and the Henschel’s playing is sensitive
and noble; expertly selected speeds
in a top class interpretation.
The finale returns
to the emotional world of the opening
movement. The influence of Beethoven
is again apparent with its stormy recitative
over tremolo accompaniment. The
finale is one of the most complex
movements the young composer ever wrote.
The quartet concludes relatively modestly;
gentle and calming. We have a rush to
the finish line by the Aurora with their
vibrant and tempestuous playing. The
conclusion is especially lovingly played.
I was completely bowled over by the
Bartholdy account. It made me feel like
I was nervously seeking shelter under
a large tree in torrential rain with
the fear of a imminent thunderstorm.
Thrilling, characterful and incisive
playing from the first class Pacifica.
Between points 07:00 to 08:02 the violin
of leader Simin Ganatra could almost
be playing the highly romantic Violin
Concerto of Brahms. The Talich are
glowing and energetic and the muscular
Emerson offer drama and excitement in
this complex movement. There is breathtaking
intensity from the Henschel, who are
dark, stormy and fiercely propulsive,
yet always under control.
In the String Quartet
in A minor, Op. 13 Mendelssohn is
especially well served by the many superb
recordings that are available. The Aurora
offer a lovingly played account without
any sense of routine. Grainy rather
than stylistic performances that gives
much pleasure. My number one choice
is the terrific account from the Bartholdy,
that is excitement personified, yet
allows one to imagine the spirit of
Haydn and Mozart. Hold onto your hats!
Their rather close recording may be
slightly off-putting at times for some
ears. The performance from the Pacifica
is thrilling with panache and a strong
sense of purpose. My joint second choice
in this quartet is the account from
the Talich. Superbly and intuitively
performed with enviable control and
rhythmic precision. In their account
the Emerson offer high emotional drama
with generally fine playing. There is
little in the way of a controlled classical
style and the interpretation is often
too tentative on occasions. The Henschel
bring the work splendidly to life and
are my joint second choice. They play
as one with a sense of unbridled music
making with an interpretation in the
classical style and brimful of character.
Although not part of
a complete set and very different in
style to the Bartholdy account I would
not wish to be without the peerless
period-instrument interpretation from
Christophe Coin’s Quatuor Mosaïques
on Audivis Astrée Naïve
E 8622. The recording is coupled with
the String Quartet in E flat major,
Op.12.
String Quartet
in E flat major, Op. 12
The String Quartet
in E flat major, Op. 12 was commenced
in Berlin and completed in London in
1829, during a trip to Britain. It is
said that Mendelssohn may have secretly
dedicated the score to the daughter
of a Berlin astronomer, Betty Pistor,
a singer who may have also been the
inspiration for the earlier A minor
String Quartet Op. 13. The score,
as in the preceding A minor String
Quartet shows the influence of Beethoven.
The slow opening introduction is reminiscent
of the beginning of Beethoven’s ‘Harp’
String Quartet Op.74. Mendelssohn
once again employs cyclical thematic
techniques to join the score together
with the finale periodically
recalling material from the opening
movement.
The lyrical opening
movement is a broad, passionate and
beautiful section. The first subject
is a spacious and emotional melody while
the second subject has a calmer tone.
The playing from the Aurora is passionate
and vital. The Bartholdy expertly display
the passion of the music and the first
violin of Joshua Epstein is in especially
fine form. An urgent performance, full
of yearning and intensity by the Pacifica.
The emotion is especially powerful in
the section featuring their first violin,
Simin Ganatra. The Talich give a rich
interpretation that is heart-felt and
expressive. Playing out of the top drawer
from the Emerson, giving a real sense
of an emotion journey and the impressive
Henschel are alive to every bar.
The second movement
is a beautifully graceful, light and
wonderfully simple canzonetta that
became so popular with the public that
it was sometimes played as an independent
work. The folk-like main theme is contrasted
with a faster paced, almost scurrying
mid-section. Its charm lies in the pizzicato
and staccato effects and the
elfin humour of the closing measures.
The Auroras are for the most part expressive
and nimble however they are rather dull
in the pizzicato and staccato
of the closing section. Slow and measured
playing from the Bartholdy that borders
on the lethargic. The quicker paced
mid-section is a vast improvement in
fortunes, however the Bartholdy’s closing
measures are not so convincing. Confident
and direct playing with consummate ease
from the excellent Pacifica and the
Talich offer adroit playing with a feeling
of real immediacy. The Emerson are a
touch sluggish, although their playing
is infused with joyousness and the Henschel
give a first-rate version, peerless
in the scurrying mid-section and closing
measures.
Marked andante expressive
the melodious third movement has been
described as a ‘noble song of thanksgiving’
(David Ewen's 'The Complete Book of
Classical
Music, p.454). The music begins quietly
and as it progresses it grows in passion.
There are richly melodious and closely
drawn harmonies, with a prominent recitative-like
solo for violin, before the movement
ends. Noble expressive playing from
the Aurora although I would have preferred
a slightly lighter touch. The mood is
rather heavy from the Bartholdy. There
is a certain lack of vitality here and
the movement seems to drag. The Pacifica
play the movement beautifully and give
a heartfelt reading of these singing
melodies. Gravely beautiful playing
with irresistibly rich string tones
from the Talich. The Emerson are in
a rather serious mood here with a restrained
interpretation without the passion of
some other accounts. Cultured playing
from the Henschel with a poised line
and a natural warmth.
In the very spirited,
impetuous and extremely brisk finale,
Mendelssohn periodically recalls material
from the first movement. In particular
he reintroduces the beautiful theme
of the opening movement which then,
as in its first appearance, ebbs softly
away. The Aurora augment the restless
nature of the closing movement. Excellent
work from the first violin of Sharon
Grebanier in the subdued ending. Urgent
and vibrant playing from the Bartholdy,
although the players seem to lose their
way in the final pages. Dashing and
irresistible playing with deft changes
of pace from the Pacifica and the account
from the Talich is brisk, dramatic and
wholly invigorating. Sparkling interplay
from the Emerson in full-blooded accounts
with considerable vibrato from Eugene
Drucker the first violin. Perfectly
judged tempi in the excellent interpretation
by the Henschel.
To select a top version
of the String Quartet in E flat major,
Op. 12 is a difficult task as all the
accounts are worthy contenders. The
Aurora Quartet give an authoritative
classical style performance. Although
the rather heavy string sound may be
attributable to the closeness of the
recording. I cannot recommend the Bartholdy
as a leading choice in this score as
they fail to fully engage the listener
in a patchy interpretation. The Pacifica,
offering imposing control, are my second
choice. They have a light and warm string
sound that undoubtedly suits the score,
together with plenty of vibrato. Rich
string tones in a close recording are
the main features of the very fine account
from the Talich. The Calliope booklet
notes incorrectly describe the work
as being in the key of B flat major.
The Emerson offer total involvement
in a wholly absorbing performance that
contains significant vibrato. My premier
choice is the irresistible and highly
cultured version from the Henschel.
The players in the classical style use
only a modest vibrato and the recording
is slightly dry.
As an alternative,
I would not wish to be without the peerless
period-instrument account from Quatuor
Mosaïques, on Audivis Astrée
Naïve E 8622. The superb coupling
is the String Quartet in A minor,
Op. 13.
The Three String
Quartets, Opus 44 No. 1-3 (1837-39)
Composed between 1837
and 1839, the three Op. 44 String
Quartets mark the centre of Mendelssohn’s
late compositional life, forging a true
classical and romantic union of satisfying
formal structures and expressive melody.
Dedicated to ‘His Royal Highness, the
Royal Prince of Sweden’ the Op. 44 set
is not always given the praise that
it certainly deserves. The scores were
designed to be played by Ferdinand David’s
String Quartet and make heavy virtuoso
demands on the players. It is full of
rich melodies, entrancing harmonies
and piquant dynamic contrasts.
String Quartet
E minor, Op. 44 No. 2
The String Quartet,
Op. 44 No. 2 is in E minor,
one of Mendelssohn’s favourite keys
and was the first of the set of three
to be composed. Mendelssohn married
Cecile Jeanrenaud on the 28 March 1837
and sketched the work during his honeymoon
in the Black Forest and went on to complete
the score on 18 June 1837. Many musicologists
consider this E minor score his
finest essay for the string quartet.
The temperamental opening
movement allegro assai appassionato
is lengthy at ten minutes. It is
no longer preceded by a slow introduction
as we have a melodic main subject over
restive accompaniment. The elegiac rising
theme for the first violin projects
an agitated wistful quality that anticipates
his Violin Concerto in the same
key with its singing main theme. The
movement contains a remarkably rich
variety of material and texture, welded
together with cunning craftsmanship
to exhilarating effect. Breezy and spacious
playing from the Aurora who gambol along
confidently through this remarkable
variety of material. A striding and
brisk reading from the Bartholdy with
an appropriate mood of agitation. The
Pacifica are intimate and reflective
in the slow sections and vibrant in
the swifter tempos and the playing from
the Talich is bold, intense and concentrated.
In this movement the Emerson give one
of the finest interpretations of a Mendelssohn
movement. Their authoritative playing
simply draws in the listener. A suitably
passionate and brooding interpretation
from the Henschel is worthy of genuine
praise.
The second movement
is a rapidly paced scherzo of
boundless invention that was extremely
successful at its première in
1837. The movement recalls the scherzo
from the Midsummer Night’s Dream
and is another example of Mendelssohn’s
inexhaustible invention in devising
movements of this type. The music has
always been understood as being ‘elf’
music, owing to its scampering runs,
dizzying melodies, surprising accentuation
and considerable virtuosity. Expert
playing from the Aurora with pace and
intensity and the Bartholdy perform
superbly; crisp and alive and technically
assured. An exhilarating and confident
interpretation from the Pacifica who
are clearly enjoying themselves in this
movement. The Talich offer an ardent
and robust account with some rapid-fire
playing and the Emerson interpretation
is one of remarkable verve and considerable
technical prowess. The excellent reading
from the Henschel has that highly appropriate
impish and scampering feel.
The soulful third movement
andante has the melody, periodicity
and structure of a ‘song without words’.
It’s reminiscent of Schubert’s String
Quartet in A minor ‘Rosamunde’ D.804.
In one of their best slow movements
the playing of the Aurora is delicate
and sensitive. The Bartholdy offer a
strongly characterised and compassionate
account. A lovingly performed interpretation
by the Pacifica with an aching tenderness
and the playing of the Talich is wistful
and sensitive. From the Emerson we are
given a deeply felt and affecting performance.
By contrast the Henschel are perhaps
a touch too brisk in a movement that
needs time to breathe
The final movement
presto agitato represents a rich
model of a sonata rondo. The
variety of compositional styles in the
final movement brings into play Mendelssohn’s
full powers of construction and expression.
These range from the simple single upper
voice accompanied by three lower ones,
to complex concertante writing
for all four instrumental voices. Motivically
and rhythmically the finale shows
its connections to the opening movement.
The Aurora provide good expression and
controlled pace with fine playing. There
is a positive and forthright account
by the Bartholdy that fully engages
the listener. It is good to hear the
ardently spacious reading from the Pacifica
which feels just perfect. As in the
opening movement the Talich supply a
big, bold and intense account. In this
movement the Emerson are stylish and
fluent with a high degree of control
of tempi and phrasing. There is impressive
playing of the variety of compositional
styles from the talented Henschel.
Recommending a version
of the String Quartet in E minor,
Op. 44 No. 2 is a particularly difficult
task. The Aurora is generally well played
but one that contains a few jagged edges.
A similarly well played and technically
assured interpretation by the Bartholdy
is slightly wanting in purpose and engagement.
The Pacifica offer wonderful ensemble
playing and their account, that contains
considerable vibrato, is my joint second
choice. There is plenty of character
and vibrancy on offer from the Talich
although other versions have more classical
charm. My premier selection of the Emerson
is not a performance from the Viennese
classical world of Mendelssohn but an
interpretation of sheer class and absolute
command. In joint second position is
the delightful and cultivated interpretation
from the Henschel; full of subtle delights.
String Quartet
in E flat major, Op. 44 No. 3
The String Quartet
in E flat major, Op. 44 No. 3 was
worked on in the winter months after
Mendelssohn’s return to Leipzig from
honeymoon in 1837. It was completed
in 1838. It is thought that Mendelssohn
was not satisfied and he gave the work
considerable revision. The E flat
major Quartet is the richest in
content of all the Opus 44 set and E
flat major was one of Mendelssohn’s
favourite keys. There is a great deal
of contrapuntal interest throughout
all four movements. One critic described
the work as, "one of the wittiest,
most brilliant compositions of its kind."
Mendelssohn had enthusiastically studied
the late quartets of Beethoven who was
undoubtedly the inspiration behind this
rich bodied and forward looking quartet.
The elegant opening
movement allegro vivace must
be the longest in duration that Mendelssohn
wrote for the medium. The record must
surely be held by the Coull Quartet,
who in their 1992 Hyperion recording
took an incredible 13:48. Music writer
Wilhelm Altmann praised the power, energy
and passion of the opening theme. The
theme is said to be Beethovenesque,
using short-breathed motifs, instead
of long lyrical melodies. The movement
is probably the densest of all mature
Mendelssohn. The wholly ardent performance
from the Aurora untangles this dense
writing to great effect. The Bartholdy
offer a well played account that could
have been more thrilling. If lacking
in some energy the Pacifica are responsive
to every bar and demonstrate the capacity
to communicate. The Talich are rich,
robust and bold with high intensity
playing that reaches deep inside the
music. The Emerson provide an unaffected
interpretation with thrilling playing.
One cannot fail to be impressed with
the warm-hearted confidence shown by
the Henschel.
I could find few articles
and references to this short scherzo
movement. One writer described the movement
as new and very typical, whilst another
explained that the piece tended more
to breaking apart rather than coming
together. The scherzo movement
brims with puckish mischief and with
much rapid-fire staccato work.
The Aurora are muscular and mischievous
in the scherzo and the Bartholdy
capture the scampering and rather agitated
mood. The Pacifica offer an abundance
of forward momentum but cannot match
some of their rivals for power and attack.
There is highly focused and extremely
robust playing with relentless propulsion
from the Talich and the Emerson perform
with a real sense of purpose and co-ordination
within the ensemble. The consummate
handling of the driving forward momentum
by the Henschel is worthy of special
praise.
The penultimate movement
marked adagio non troppo has
been acknowledged to prefigure composers
such as Smetana, Brahms and Dvořák
and has been described as the emotional
heart of the work. With the chromatic
harmonic relationship of the movement
Wilhelm Altmann perceives a link to
the slow movement of Beethoven’s ‘Harp’
String Quartet in E flat major,
Op. 74. The noteworthy interpretation
from the Aurora is appropriately yearning
with a superbly played part by the first
violin Sharon Grebanier. In this movement
the yearning quality of the Bartholdy
account is impressive. The Pacifica
offer sensitive playing that is natural,
warm and expressive whilst the Talich
performance is rapt rather than wistfully
romantic, emerging tenderly as from
another world. Particularly expressive
and tactful playing from the Emerson
with the first violin of Eugene Drucker
in especially fine form. The Henschel
play as a single voice allowing the
music to live and speak to the listener.
The closing movement
opens with a furious impetus. A dance-theme
and another full melody are contrasted
with the melody of the coda entrusted
to the second violin and viola, while
the first violin indulges in some virtuoso
display. Emphatic, firm and somewhat
angry playing from the Aurora, like
running away through thick undergrowth.
Swift and satisfying playing from the
Bartholdy that does not quite have the
vitality of some rival versions. The
Pacifica give a well performed, if rather
restrained account and the Talich playing
has the necessary vital ingredients
to carry the musical argument forward.
The Emerson seem to be enjoying their
performance that is high on vitality
and dynamism as are the Henschel who
give a vivacious and eventful reading
that soars and swoops like a bird of
prey.
In conclusion the String
Quartet in E flat major, Op. 44
No. 3 is given an invigorating and robust
performance by the Aurora with some
rough-edged rather than stylish playing.
The Bartholdy interpretation is well
performed, however the lack of vitality
gives a sense that the players are holding
back. This is probably the least successful
account of a Mendelssohn String Quartet
by the Pacifica. For all their character
and polish they just cannot match the
necessary power and the energy of their
main rivals. In third position, from
the Talich we have a version with a
marvellous blend of strength, vigour
and conviction. The Emerson’s dramatic
interpretation displays a genuine involvement
with the music and is my second choice.
My first choice is the performance from
the Henschel who clearly have this music
in their blood, playing with accomplishment,
passion and considerable control.
String Quartet
in D major, Op. 44, No. 1
The String Quartet
in D major, Op. 44, No. 1
was completed in the summer of 1838.
Although the work was numbered the first
of the Opus 44 set it was the last of
the three to be finished. Said to be
Mendelssohn’s favourite of the set,
the work uses the bravura key of D major.
On 30 July 1838 Mendelssohn wrote of
the score to the violinist Ferdinand
David, whose ensemble premièred
the Quartet on 16 February 1839, "I
have finished my third quartet in D
major and I like it very much. I do
hope it will be to your liking too.
But I almost believe it will for it
is more impassioned than the others
and more rewarding for the musicians."
An outstanding feature throughout this
score is the brilliant running virtuosity
required of the first violin.
The opening movement
marked molto allegro vivace is
lengthy, with the Emerson taking the
longest at 12:50. The movement exudes
brilliance and exuberance and is light,
lively and bracing in nature. The Aurora
are excellent in this movement with
a well paced and instinctive account
that has an infectious exuberance. A
striding and spacious reading from the
Bartholdy reveals considerable detail.
I can report another glitch in their
sound, at point 04:14. The playing from
the Pacifica comes across as rather
bland and lacking in drama and energy.
In contrast, the Talich in this movement
are at their most appealing and infectious.
Wonderfully natural and unforced playing
here from the Emerson and the Henschel
handle the opening movement with considerable
freshness, albeit in a rather nervy
manner.
Historically-speaking,
Mendelssohn moves a step backward and
substitutes a menuetto for a
scherzo-proper. The dainty and
exquisitely melodious menuetto is
rather antique-sounding and somewhat
rococo in style. This is well-mannered,
genteel music with considerable prominence
given to the first violin throughout
the majority of this movement. A lighter
touch would have been preferred in this
reading from the Aurora. The Bartholdy
offer little in the way of elegance,
as the players seem to lose their way
in the slow pace. Lovely playing from
the first violin of Joshua Epstein.
The Pacifica seem sluggish in this movement,
somewhat lacking in pace and passion.
On the other hand their silvery-toned
first violinist Simin Ganatra is on
especially fine form. The Talich display
absolute security of ensemble and the
first violin of Jan Talich is worthy
of special praise. The surging lines
are beautifully wrought by the Emerson,
with excellent playing from Eugene Drucker,
the first violin. Conversely the Henschel
are less successful in the menuetto
with an interpretation that seems rather
hurried.
The third movement
andante expressive ma con moto has
a magical texture, delicately scored
and charmingly harmonised. It is characterised
by the evanescent pizzicato playing
that appears in so many of Mendelssohn’s
scherzos. But here the pace is
slowed to create a gentle, almost retiring
‘song without words’. In the relaxed
mood of the andante we have a
welcome respite from the two previous
movements, although the playing of the
Aurora would have benefited from a little
more delicacy. Tender playing here from
the Bartholdy, although their interpretation
is somewhat wanting in direction. The
Pacifica offer compelling playing with
superb string tone and the eloquent
Talich play with spontaneity. Lithe
yet deliberate and expressive playing
from the Emerson and in this movement
the thoughtful and imaginative Henschel
respond well with a judiciously chosen
pace.
The spirited final
movement marked presto con brio
is structured with ingenious counterpoint.
Something of a gigue found its
way into the movement or perhaps instead
of a gigue it is the same snappy
and rhythmic buoyancy that fills the
finale of Mendelssohn’s famous
Violin Concerto. The movement
concludes the work as if with a recapitulation
of the first movement in spirit and
sonorous brilliance. The Aurora are
most spirited and determined here, giving
a symphonic feel to the music. A well
paced and attractively coloured reading
from the Bartholdy. In this movement
the Pacifica come to life with playing
of considerable determination, with
a real sense of engagement and the Talich
display fine musicianship, that has
considerable natural impetus. The Emerson
offer truly fine playing, although I
would have liked a touch more drive
and the Henschel in this final movement
are especially striding and airy.
Of all the complete
sets that I have heard, the String
Quartet in D major, Op. 44,
No. 1 is given the greatest variation
in performance style. The interpretation
from the muscular Aurora is somewhat
on the heavy side. A lighter touch and
increased sensitivity would have assisted,
together with a need for greater variation
in the amount of weight. Their close
recording tends to favour the viola
and cello. This is a decently performed
version from the Bartholdy, although
generally lacking in focus and unable
to match the vitality of other accounts.
The Pacifica are not up to their usual
elevated standards, especially in the
first two movements. The recording is
close with some extraneous player noise.
My joint second choice in this score
is the strongly conceived performance
from the Talich, that is consistently
thoughtful and searching. The Emerson
are my premier selection for their wonderfully
polished and expressive playing. The
blend of tone that the players achieve
is nothing short of astonishing. In
this quartet the Henschel performance
invites admiration, especially for the
final two movements. The vitality and
refined playing of the Henschel awards
them joint second position.
String Quartet
in F minor, Op. posth. 80
"It would be
difficult to cite any piece of music
which so completely impresses the listener
with a sensation of gloomy foreboding,
of anguish of mind, and of the
most poetic melancholy does this masterly
and eloquent composition." These
are the words of composer-conductor
Julius Benedict, a long time friend
of Mendelssohn.
The F minor String
Quartet is a work full of striking
contrasts and is not typical of Mendelssohn’s
output in general. The learned counterpoint
of the capriccio movement in
E minor and the classical balance of
the three Opus 44 String Quartets
are nowhere evident in this F
minor Quartet. Drafted during the
summer of 1847 and published in 1850
after his death, the score shows a great
mastery of acoustic space in which Mendelssohn
creates a harmonic bridge between Beethoven
and high romanticism. Amazing for its
emotional force, the score is deeply
moving, tragic and full of dissonance,
boldly overstepping the formal and expressive
limits within which Mendelssohn had
hitherto confined himself. Here Mendelssohn
leaves behind the fantasy world of elves,
fairies and visionary landscapes and
joins the human race. His customary
sense of emotional restraint disintegrates.
With only months to
live, Mendelssohn gave heartfelt expression
to his shattering grief over the sudden
death of his beloved sister and soul-mate
Fanny, the eminent pianist and composer.
She had suffered a fatal stroke during
a rehearsal in Berlin in May 1847. For
many weeks after her death her devastated
brother was incapable of any kind of
work. Having retreated to Switzerland
for both physical and mental recuperation
Mendelssohn wrote the F minor
Quartet in the July. The poignant
and turbulently charged score serves
as a fitting musical lament to the death
of his sister, for in it one hears the
heart-wrenching pain of Mendelssohn’s
personal grief. Agitation expressed
through dissonance and unsteady rhythms
is the key feature of the work outside
the adagio movement. Naturally,
it is an elegantly conceived composition.
But it is also remarkable in that here
Mendelssohn’s usual disposition of emotional
reserve collapses completely. Mendelssohn’s
facade of the surface coolness of a
man born into the privileged upper classes,
dissolves entirely, showing severe despair
and rage.
The opening movement,
marked allegro vivace assai,
immediately sets the sombre mood, and
is cast in a serious manner worthy of
Beethoven. The prevailing darkness is
alleviated briefly for a lovely F major
interlude, but this is a false respite,
and one that in any event seems to simply
stop rather than come to a fully developed
conclusion. We are led back into the
movement’s sorrowful conclusion by way
of a brief presto section, in
an acceleration that is as unexpected
as it is sudden. The characterful interpretation
of the opening movement from the Aurora
is rugged and turbulent. The Bartholdy
cannot provide the dynamism of rival
versions. They seem to be holding back;
although the final pages are suitably
rousing. Ardent and vital playing in
this movement by the Pacifica. The Talich
are highly charged with most thrilling
playing. However, with the Emerson I
would have preferred a more forceful
and weightier response. There is dynamic
and passionate playing from the Henschel
who blend together an abundance of enthusiasm
and telling vitality.
It would be misleading
to call the second movement a scherzo
as it contains so little in the
way of cheer and pleasure. The movement
is designated allegro assai and
is punctuated with jarring syncopated
rhythms. Again, there is something
rather Beethovenian about this piece.
While it is in triple metre, and begins
with an upbeat, this is not the sunny,
charming piece one might expect with
these rhythms. The mood is almost sinister
and macabre, an effect accentuated by
the confounding of our expectations.
The trio section isn’t able to
alleviate the pervading air of despair.
The Aurora in their interpretation are
suitably bristling and unsettling. There
is little in the way of spirit or that
so-called ‘macabre’ quality in this
unwieldy account from the Bartholdy.
The Pacifica are impressive in the nervy
and harshly syncopated rhythms and the
unsettling nature of the movement is
well conveyed by the Talich but the
playing is somewhat wanting in polish.
The Emerson’s playing is agreeably poised
and sprung and the Henschel offer a
spirited and airy account but seem only
moderately happy in these complex rhythmic
changes.
The intensely lyrical
third movement adagio is a sort
of elegy that has been fittingly
subtitled as a ‘Requiem for Fanny’.
Mendelssohn was renowned for his ‘songs
without words’ and this movement is
cast nicely into that mould. A passage
in the contrasting middle section sounds
especially disconsolate and cheerless,
while a sobbing climax leads to the
gradual dying away of the movement.
The Aurora provide a heart-felt and
sensitive reading of the adagio with
gravely beautiful playing and subtle
control. Sadly, the Bartholdy fail to
improve significantly on their hesitant
opening pages. Mendelssohn’s feeling
of abject despair is not as discernible
here as in other versions. The Pacifica
in this intense elegy play with
an abundance of passion and fluency
and the Talich suitably capture the
prevailing mood of acute anguish. The
listener is drawn in by majestic playing
with tenderness and much soul searching
from the Emerson and the Henschels superbly
capture the lyrical languor and heart-breaking
mood without ever becoming laboured.
The final allegro
molto revisits the turbulence of
the first two movements; namely the
agitated tremolos of the first movement
and the jarring syncopations of the
second. Although repeated sequences
lead into the final moments, there is
something of a precipitous feeling about
its conclusion, which arrives by way
of an impassioned and tempestuous coda.
There is unmistakable aggression
in this music, as if the composer was
working through the anger phase of his
complex and unbearable grief. The fluent
Aurora give an interpretation that is
restless, big-boned and striding. The
underlying mood of restlessness and
uncertainty is accurately conveyed in
the account from the Bartholdy and the
playing from the Pacifica is abundantly
expressive and incisive. The Talich
seem uncertain how to take this movement
and there are moments of hesitancy.
The Emerson are little improved, giving
a rather low key performance with only
slight expression. By contrast the razor-sharp
Henschel are thrilling, taking the movement
with a drive and brilliance that conveys
the restlessness and fury of the music.
To sum up, my second
choice version of the String Quartet
in F minor Op. posth. 80 is from
the Aurora who give an excellent and
powerful performance. They are able
expertly to differentiate and convey
the contrasting moods of the score.
The account from the Bartholdy is deficient
in the dynamism offered by the best
versions. Frequently I experienced a
heaviness and lack of spontaneity in
their playing. In joint third position
the Pacifica give a fine interpretation
that seems balanced to give due recognition
to the deeper voices of the viola and
cello. The wonderful silvery-tone of
Simin Ganatra, the first violin, is
worthy of special praise. Characterful
readings from the Talich who play with
total dedication. Their choice of tempi
is difficult to fault and they deserve
joint third place. The Emerson offer
a frustratingly sober affair, which
I feel is their least successful work
in the complete set. Their playing is
fine and stylish although their interpretation
comes across as deficient in vitality
and propulsion. My first choice recommendation
in this score is from the Henschel,
primarily for their polished craftsmanship
and winning communication. This music
is truly in their blood and this interpretation
demonstrates a real unanimity of vision
between the players as well as scrupulous
attention to the detail of the scoring.
Four Movements
for String Quartet, Op.81
The Four Movements
for String Quartet, Op.81
are miscellaneous, individual movements
that Mendelssohn wrote between 1827
and 1847. The Four Movements are
often played as a sort of supplementary
work and the grouping was given the
opus number 81 when published posthumously
in 1850. I have seen the Four Movements
played in different combinations
but most usually in the published numbered
sequence of Andante, Scherzo,
Fugue and Capriccio.
It is often fairly remarked upon
just how little musical kinship there
is across these four unrelated pieces;
consequently they are not often performed
as a set.
The Andante
movement in E major known as Tema
con Variazioni was composed
in 1847, it is thought during Mendelssohn’s
final weeks. An undemanding and expressive
theme is followed by inventive and delightful
variations, the last of which erupts
into a tumultuous presto.
The excellent Scherzo
movement in A minor was also written
in 1847, around the same time as the
Andante ‘Tema con Variazioni’.
An attractive and lightly textured piece
reminiscent of his scherzo from
the incidental music to the Midsummer
Night’s Dream. The piece falls into
two alternating sections, of which the
opening eventually dissolves into a
simplified outline and two pizzicato
chords. Mendelssohn challenges the idea
of a formal conclusion as the theme
exhibits a questioning and searching
quality that never seems to find resolution.
From 1827 and published
posthumously, the Fugue movement
in E flat major is the earliest work
of the four movement set. The considerable
sophistication of the piece impresses
as a student exercise.
Composed in 1843 and
issued posthumously the Capriccio
in E minor is in two distinct
sections with an pensive opening andante
followed by a contrasting strident
and energetic allegro fugato
to form a prelude and fugue.
On Naxos the Aurora
Quartet place the Four Movements
for String Quartet across two of
the discs in a miscellaneous fashion,
rather than as an integrated score.
Rather heavy playing from the Aurora
in the Andante movement; it seems
laboured in parts. The first violin
of Sharon Grebanier lifts the mood of
the performance profitably. In the Scherzo,
again the playing feels heavy with little
evidence of humour and spiritedness.
The Aurora are serious and tender in
the opening section of the Capriccio
and felicitous in the closing half.
The Fugue seems lacking in character
although Aurora drastically improve
the proceedings in the last third of
the movement.
On the Arts Music label
the Bartholdy Quartet position the Fugue
first on a separate disc to the other
three movements which are coupled together
in the probable order of composition,
Capriccio, Andante and
Scherzo. The Bartholdy are concentrated
and alert in the opening Fugue and
give a terrific performance. In the
Capriccio the players appear
rather nervous and serious, especially
in the first section. The second half
is rather routinely performed, lacking
in spirit and vitality. The Andante
is heavy going with little sense of
direction. All is forgiven in the closing
Scherzo as the stylish Bartholdy
perform with creditable spirit and the
music springs to life spontaneously.
The Pacifica Quartet
on Cedille play the Four Movements
for String Quartet coupled together,
with the customary order of the Fugue
and Capriccio reversed. In
the Andante the Pacifica provide
a disciplined performance that communicates
an underlying tension. A spirited, light-hearted
and lithe interpretation in the Scherzo.
This is excellent playing that embraces
the carefree nature of the score. In
the first section of the Capriccio
the players are most mellow and
heart-felt, followed by an adept and
exuberant reading of the second section.
The Pacifica in the Fugue perform
with considerable expression and create
a mood of near-desolation.
The Talich Quartet
on Calliope also perform the Four
Movements for String Quartet combined
together with the Fugue as the
final movement. They are buoyant and
fresh in the Andante and in the
Scherzo offer a real sense of
enjoyment in a vigorously played account.
The Talich in the Capriccio combine
subtlety with a robust and intense second
section and in the Fugue their
playing evinces real concentration in
this rather unsettling movement.
The Emerson Quartet
on Deutsche Grammophon arrange the Four
Movements for String Quartet in
an assorted order over two of the discs,
rather than as a unified work. The assured
Emerson open with the Fugue and
offer beautiful playing that seems to
go around and around with little sense
of direction. In the Capriccio
the playing has a suitably ruminative
intensity that later changes to a feisty
and gambolling character. The Andante
is superlative and stimulating without
any hint of the routine. Eugene Drucker,
the first violin, is in top form. In
the Scherzo they give a swift
and vital performance that shows a real
neatness of ensemble although I would
have favoured more sprightliness.
The Henschel on Arte
Nova play the Four Movements consecutively,
in the conventional published order.
They perform the Andante with
expressiveness and perception, providing
considerable vivacity and humour in
the Scherzo. The players are
searching and tender in the bleak Fugue,
where Mendelssohn displays deft
workmanship and frugal resourcefulness.
In the Capriccio they offer a
convincing and vigorous approach which
is highly impressive.
Selecting just one
version of the Four Movements
is a difficult task. The playing of
the Emerson is of such a high quality
that it almost gets my vote as top preference
but has to settle for being a worthy
runner-up. The superbly performed interpretation
from the Henschel gets my confident
vote for its complete identification
with Mendelssohn’s spirit and sensibility.
Recommended version
of Mendelssohn’s complete String Quartets
When selecting my personal
recommendation of a set of Mendelssohn’s
Complete String Quartets I am
struck by the many excellent choices
that we now have available; the competition
in the catalogues is exceptionally fierce.
Every complete version that I have heard
is well performed and worth hearing,
and clearly a great deal is dependant
on the personal taste of the listener.
However, the more that I understand
about the dynamics of Mendelssohn’s
life the more I prefer my string quartet
ensembles to take a more classical approach,
that uses minimal vibrato, rather than
offering playing of sumptuous romanticism.
The Aurora on super-budget
Naxos offer much personality and energy
in their accounts - available only as
three single volumes. Their performance
style is one that I could easily imagine
set in the Viennese classical period,
although at times the playing would
have benefited from additional panache
and finesse. At the time these recordings
were made, all the players, lead by
Sharon Grebanier, had been long time
members of the San Francisco Symphony
Orchestra. Where rough edges are present
one wonders about the amount of rehearsal
time that was available to these exceptionally
busy players. None of these accounts
from the Aurora is my first choice in
this intensely competitive field, nevertheless
the players’ understanding of the music
is acute and there is much to enjoy.
Recorded at Fisher Hall in Santa Rosa,
California the crisp and clear Naxos
sound quality is very acceptable with
the players closely captured. The Naxos
liner notes are not the most interesting
read but they are highly informative.
Recently arrived on
my desk for review is the re-released
complete set of the String Quartets
from the Bartholdy Quartet on the German
based Arts Music label. We are informed
that these accounts were the first ever
complete set to be recorded back in
1973. These successful and acclaimed
recordings have received the prestigious
Deutscher Schallplattenpreis and
the Grand Prix du disque awards.
I recall these recordings being previously
available on the Acanta label 43-075.
The first two String
Quartets on the set; the String Quartets
in E flat major (1823) and A
minor, Op.13 are exceptionally well
performed with tremendous character,
commendable spirit and sheer excitement.
Even though there are versions more
in tune with the Viennese classical
world that Mendelssohn so cherished,
I felt compelled to select both as my
first choice recordings. Unfortunately
the Bartholdy were unable to maintain
their exceptionally high standard throughout
their subsequent interpretations. There
was a general sense of heaviness elsewhere,
and when compared to the leading versions,
a deficiency of engagement, vitality
and spirit. The Bartholdy’s use of vibrato
is not excessive, which assists the
interpretation.
Although these recordings
are now thirty-two years old, the bright
and clear sound quality stands up rather
well. The players are quite closely
caught and this did not present too
many problems. The DDD logo is pressed
onto each disc, which is surely not
accurate, as these 1973 recordings are
too old to be digital. These will almost
certainly be analogue recordings that
have been digitally remastered.
There is a sense of
corner-cutting with the presentation
of this set. I was aware of two irritating
glitches in the sound quality and several
infuriating mistakes in the annotation;
most notably the incorrect naming and
timings of the movements of the String
Quartet in A minor, Op.13, on CD
1. Furthermore, the recording venue
is not specified in the annotation.
The Arts Music set contains a detailed
essay on the Mendelssohn String Quartets
by Ulrich Schreiber, which was not
the easiest of reads. I understand from
the Arts Music label that the Bartholdy
Quartet is no longer in existence. Nonetheless,
it is good to have these accounts back
in the catalogues, and they serve as
an excellent legacy to their art.
The complete set of
the String Quartets from the American
based Pacifica Quartet on Cedille exudes
style and sophistication with playing
that has an abundance of character and
warm expression. Especially remarkable
throughout is the sweetness of tone
and the silvery-timbre of Simin Ganatra,
the first violin. The rather lush playing
and the conspicuous amount of vibrato
from the Pacifica is not I feel an advantage
in this repertoire. Consequently some
may find the approach too far from the
Viennese classical world that Mendelssohn
occupied in spirit and too close to
the highly romantic world, of say, Brahms,
a generation later. After a strong initial
attraction to these accounts I became
aware of a sense of heaviness which
becomes wearing and cloying, a feeling
that intensifies after repeated plays.
Recorded at the Pick-Staiger Concert
Hall, Northwestern University in Evanston,
Illinois, the sound quality is a touch
too warm for my taste, although the
players are well caught. This Cedille
set offers pretty good liner notes that
are informative and easy to read. These
accounts, currently available by USA
import at a special price, will provide
much pleasure but can only be my third
choice selection.
Wholehearted commitment
and overflowing with energy are just
two of the many attributes that can
be awarded to the complete set from
the Talich String Quartet on Calliope.
The award winning Talich under the leadership
of Jan Talich were founded at the Prague
Conservatory in 1964 and have built
a solid reputation for playing of the
highest quality. The set is currently
available from Calliope at mid-price.
With total assurance the individual
approach of the Talich is astonishing.
At times the strength and boldness of
their playing seems to be at the expense
of Mendelssohnian charm and refinement.
These are not glamorous or glitzy accounts
and may attract less attention than
some superior marketed rivals. Recorded
at the Studio Arco Diva Domovina in
Prague the sound quality is cool and
clear although I did experienced some
fierceness in the forte passages.
The Calliope annotation is interesting
and reasonably informative. Even though
these performances are not amongst my
first three recommendations this set
would sit comfortably in any serious
chamber music collection.
The renowned power
and panache of the Emerson String Quartet
from the USA is superbly displayed and
their classy playing is out of the top
drawer. Lead by Eugene Drucker, they
have built up a large following over
the years, who will surely relish these
polished interpretations - all well
thought through with scrupulous attention
to detail. There are times when that
special Mendelssohnian character could
have been more present, as their playing
becomes a touch too luxurious and romantic.
Recorded at the American Academy of
Arts and Letters, in New York, the sound
quality is crisp and clear and most
realistic. The liner notes written by
R. Larry Todd were a fascinating read.
This excellent four disc set from the
Emerson on Deutsche Grammophon is currently
available at mid-price and will never
be far from my CD player. It is my second
place recommendation among the complete
sets. This set also includes an astonishing
version of Mendelssohn’s Octet for
strings, which is reviewed
below and the fourth disc also serves
as a CD-ROM, featuring a video documentary:
‘Recording the Octet’.
The German based
Henschel String Quartet under the leadership
of Christoph Henschel is notable in
that three of the players are siblings.
Their versions of the Mendelssohn String
Quartets have previously only been
available in three separate volumes
on Arte Nova, without the advantage
of the early String Quartet in E
flat major (1823). Quartet violist
Monika Henschel-Schwind has recently
sent me a pre-release copy of the complete
set, which is due to be released at
the time of writing. That box now thankfully
includes the early String Quartet
in E flat major (1823). The Henschel’s
aristocratic playing is sparkling and
exhilarating. The music is consistently
expertly performed and this Arte Nova
set is my first choice among all the
available sets in this terrifically
competitive market. These interpretations
are surely the closest to Mendelssohn’s
favoured Viennese classical period.
The Henschel’s accounts would undoubtedly
have won the advocacy of the ultra-classically
orientated Mendelssohn as they consistently
discover tempi that completely convey
both the letter and the spirit of the
music; the most sparing use of vibrato
feels just perfect. The Henschel clearly
have a special affinity for these scores
and their interpretations are masterly
illustrations of humane, old world music-making.
Recorded in Munich at the Bavaria Studio
and the Bayerischer Rundfunk, the very
acceptable sound quality is clear although
perhaps just a touch too cool. The high
standard of annotation from Arte Nova
proved extremely useful. More good news
is that these performances are available
from Arte Nova at super-budget price.
However, the reality is that this magnificent
set of the complete Mendelssohn String
Quartets would have been my first
choice selection even at full price.
Octet for strings
in E flat major, Op.20 (1825)
The set of the complete
Mendelssohn String Quartets from
the Emerson on Deutsche Grammophon includes
an account of Mendelssohn’s masterwork,
the Octet for strings in E flat major,
Op.20. As a bonus, the fourth disc also
serves as a CD-ROM, entitled ‘Recording
the Octet’ which is an entertaining
and informative eleven minute video
documentary of how the four Emerson
members recorded the Octet for strings.
The performers, with the encouragement
of producer Da-Hong Seeto and the assistance
of recording studio technology, decided
to record the Octet themselves,
rather than engage four additional players.
The Emerson used eight different instruments
that included some very famous originals
and some modern copies, without stating
which instrument was played at which
time. Make no mistake this project was
not just made for amusement or for reasons
of expediency ... the Emerson take their
art very seriously. Both the concept
of four players taking all eight parts
and the finished result have divided
critical opinion and caused some controversy.
My opinion is that the Emerson have
provided a very special interpretation
that made me sit up and take notice.
It is certainly worthy of comment here.
As this review is intended for the purpose
of Mendelssohn’s Complete String
Quartets, I will not attempt
to compare the Emerson version of the
Octet for strings in great detail
with other available recordings.
Mendelssohn composed
this masterwork, in 1825, soon after
his family had moved into a large and
imposing house in the Leipzigerstrasse
on the outskirts of Berlin. It is a
work of pure genius and it is truly
amazing that Mendelssohn was only sixteen
at the time. His achievement was all
the more remarkable as he composed the
work virtually out of the blue with
no precedents or models to follow. Compositions
for Octet were extremely rare, especially
those for strings only. Louis Spohr
had recently composed a work for Double
string quartet, which was
not the same as an eight-part octet.
Beethoven in 1792 had written an Octet
for winds in E flat major, Op. 103
and the Schubert Octet in F major
D. 803 was scored for winds as well
as strings. Possibly Mendelssohn had
heard the Schubert F major Octet,
which was first performed in 1824. It
is also worth pointing out that Mendelssohn’s
teacher Friedrich Zelter could not have
assisted him a great deal, as he was
not capable of writing anything near
as good himself.
Music writer William
Altmann aptly provided a description
of the character of Mendelssohn’s Octet
for strings, "The sea of
sound that rages through the Octet is
very powerful, achieving indeed
quite an orchestral tone at times,
though there is no lack of delicate
passages." Mendelssohn left
instructions that, "This Octet
must be played by all the instruments
in symphonic orchestra style ... pianos
and fortes must be strictly observed
and more strongly emphasised than [one]
is used to in pieces of this character."
The playing from the
Emerson in the warm and spacious opening
movement is hugely impressive. Right
from the opening bars I could feel the
red-hot intensity of this reading and
I particularly enjoyed the masterly
change of pace that they achieved so
effortlessly. Their playing in the gently
lyrical second movement andante
is so full of passion that I found it
so overwhelming it sent a wave of shivers
down my spine. Make no mistake, this
is no coiffeured performance, but a
highly sensitive and beguiling musical
experience.
The third movement
is the first example of what was to
become Mendelssohn’s trademark elfin-fairy
scherzos. The thrilling and high-spirited
character of the movement is played
with a razor-sharp alertness, superb
control and rhythmic precision. The
final movement presto, with
its masterly fugal writing is a dazzling
tour-de-force, given a marvellous
reading that projects the drama and
intensity to most brilliant effect.
The sound quality is cool and clear,
although there was plenty of sonic activity
going on down the left channel of my
headphones, it did not detract too much
from the pleasure of the performance.
In my collection I
have several top quality accounts of
Mendelssohn’s magnificent Octet.
I hold in high regard those versions
from the Leipzig String Quartet on MDG
Gold 307-1057-2; The Chamber Music Society
of Lincoln Centre on Delos DE 3266;
the period-instrument version from Hausmusik
on Virgin Veritas 5-61809-2 and the
critically acclaimed interpretation
of the 1978 recording from the ASMF
Chamber Ensemble, on Philips 420-400-2.
Listening to any recording of this wonderful
work has never previously engendered
that special feeling of awe and total
involvement as conveyed here by the
Emerson, who penetrate deeply into the
heart of the score. They are now my
leading choice in the Octet.
Simply superb!
Michael Cookson
Top Recommendations
String Quartet in
E flat major (1823)
Bartholdy Quartet on
Arts Music Red Line 47130-2
String Quartet (No.
2) in A minor, Op.13 (1827)
Bartholdy Quartet on
Arts Music Red Line 47130-2
Alternative first choice
version on period-instrument from Quatuor
Mosaïques on Audivis Astrée
Naïve E 8622
String Quartet (No.
1) in E flat major, Op.12
(1829)
Henschel Quartet on Arte Nova Classics
82876 64009 2
Also available singly
on Vol. 1, Arte Nova Classics 74321
96521 2
Alternative first choice
version on period-instrument from Quatuor
Mosaïques on Audivis Astrée
Naïve E 8622
String Quartet (No.
4) in E minor, Op.44 No.2
(1837)
Emerson Quartet on Deutsche Grammophon
DG 4775370
String Quartet (No.
5) in E flat major, Op.44
No.3 (1838)
Henschel Quartet on
Arte Nova Classics 82876 64009 2
Also available singly
on Vol. 2, Arte Nova Classics 82876
57744 2
String Quartet (No.
3) in D major, Op.44 No.1
(1838)
Emerson Quartet on
Deutsche Grammophon DG 4775370
String Quartet (No.
6) in F minor, Op. posth.
80 (1847)
Henschel Quartet on
Arte Nova Classics 82876 64009 2
Also available singly
on Vol. 1, Arte Nova Classics 74321
96521 2
Four Movements for String Quartet,
Op.81:
1. Andante (Tema
con Variazioni) in E major,
Op.81/1 (1847)
2. Scherzo in A minor, Op.81/2
(1847)
3. Capriccio in
E minor, Op.81/3 (1843)
4. Fuga in E flat
major, Op.81/4 (1827)
Henschel Quartet on
Arte Nova Classics 82876 64009 2
Also available singly on Vol. 3, Arte
Nova Classics 82876 60848 2
Octet for strings
in E flat major, Op.20 (1825)
Emerson Quartet on
Deutsche Grammophon DG 4775370
Top Recommendation
for Complete String Quartets
Henschel Quartet on
Arte Nova Classics 82876 64009 2
Second Place
Recommendation for Complete String Quartets
Emerson Quartet on
Deutsche Grammophon DG 4775370
Henschel Quartet 
