A contemporary of Mahler,
Wolf’s reputation now rests almost entirely
on songs. His complete output of chamber
music is contained on this disc, only
the serenade being well-known. All are
relatively youthful works, written before
the long-term effects of syphilis led
to serious mental decline. Wolf’s underlying
manic-depressive nature is perhaps illustrated
by the gestation times of the quartet
and serenade - 6 years and 3 days respectively.
It is probably also fair to suggest
that he was much more at home in smaller
forms. Nevertheless, the quartet is
a considerable achievement that should
not be consigned to oblivion.
The quartet is in four
movements with a brief scherzo placed
second. Throughout the work there is
a dark passion which is amply conveyed
by the members of the Wihan Quartet.
As Rafael Brom suggests in the booklet
notes, the influence of Beethoven is
apparent in the first two movements.
In particular, there are passages reminiscent
of the Grosse Fuge and Op.95
quartet. Throughout the work I was also
reminded of Schubert’s Death and
Maiden quartet which is in the same
key. The long-breathed and lyrical slow
movement is Wagnerian – there is no
doubting whose side Wolf was on in the
Wagner –v– Brahms slanging match which
gripped Vienna at the time. After an
opening recalling the Bruckner quintet
- written just a few years earlier -
the finale perhaps contains the most
original and compelling music.
The intermezzo is well-crafted
and generally sunny. The lyrical opening
theme is magical but Wolf does not linger
on it quite as might be expected; contrasting
playful passages are woven in. The soubriquet
Italian was apparently added
to the serenade well after its composition
and he also prepared an orchestral version.
Its charms are readily apparent in this
performance which sparkles from beginning
to end.
The Wihan Quartet takes
it name from Hanuš Wihan (1855-1920),
cellist and founder of the Bohemian
Quartet. They are following, and live
up to, a proud tradition of Czech quartets
with some really excellent music-making
here. The recording is near ideal and,
although there is a modicum of competition
in this repertoire, it is hard to imagine
this being bettered.
Patrick C Waller
Wihan Quartet 
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