Something old, something
new .... The Szymanowski Quartet here
performs some of well-known and some
relatively-newly explored repertoire
on this Avie release. Haydn and Dvořák
are both well-known for their substantial
output for string quartet; Bacewicz
much less so. What is here on this SACD
is well worth listening to.
Starting with the Haydn,
the Szymanowski quartet set things off
well with an engaging and enjoyable
presentation of the Hob III:57 quartet
in C, a work of tasteful proportions
awash in lovely themes. This is the
only recording I have of this particular
quartet, but the Szymanowski sound wonderful,
fitting the Haydn aesthetic. Even more
meltingly wonderful than the opening
Vivace is the beautiful Adagio
that follows, which shows Haydn is more
than what some view as the "connoisseur’s
Mozart". He shows his great value,
not mere preciousness, in the short
central movements especially. To some
extent the Menuetto movement serves
as a scherzo, with unpredictable changes
in tone and demeanour. Though conventional
by Beethoven’s standards, one can easily
see this quartet as a model from which
Beethoven struck off on his own route.
Following the greatly-enjoyable
Haydn is the currently under-appreciated
fourth quartet of Grazyna Bacewicz.
In the only other known recording of
this work, which I previously reviewed,
we have a quite different approach.
In that excellent recording of the Amar
Corde Quartet by Acte Préalable
the performance is more angular, spiny,
and motoric. With this release, the
Szymanowski focuses more on the lyrical
aspects of what might be for some a
somewhat intimidating work from a relatively
unknown Polish composer. For contrast,
the Szymanowski focus on different aspects
than the Amar Corde. Against stereotype,
the all-female Amar Corde quartet focuses
on a more ascetic, geometric approach,
with structure overall in mind, whereas
the all-male Szymanowski focuses on
the lyrical, otherworldly aspects of
Bacewicz’s most celebrated quartet.
Both performances are fascinating in
completely different ways and both are
worth hearing.
Regarding the Dvořák,
the Szymanowski seem perfectly at home.
The plaintive opening strains of the
Adagio ma non troppo
here are true — one buys into them completely
and is drawn into the thunderous world
of Dvořák’s quartets headlong.
Regarding tone here, the closest one‘s
comparison can run would be with regard
to this quartet — would be the more
overtly theatrical and easily accessible
performances of the Kalichstein-Laredo-Robinson
trio’s versions of Shostakovich versus
other more raw recordings. The sound
quality of this recording is excellent
and, with its mixture of the new and
less-than new - but still not as often
heard - repertoire, it comes highly
recommended.
David Blomenberg
AV
2092 [65:58] 
