Here we have an
example of what happens when record companies delve into their
archives and try to find CD homes for LP era analogue and other
digital recordings. This disc contains a 1978 recording of
Franck’s string quartet coupled with a 1993 digital recording
of his famous violin sonata. One imagines a repertoire director
trying to figure out what will go along with a 48 minute string
quartet recorded almost thirty years ago. However the present
pairing is a good one as it brings together two of Franck’s
three important chamber work as well as providing us with some
very fine playing.
The Violin Sonata is
one of the most popular works in the genre and scores of recordings
exist, with yet more if you include arrangements for cello
or flute. The potential variety is intensified by the fact
that for much of the work one feels that one is listening to
a piece for two equal instruments rather than a typical violin-dominant
sonata. Pierre Amoyal’s approach is one that is unhurried and
where beauty of sound is very important. In the opening Allegretto
this approach serves to make one pay new attention to something
that one has heard many times before. However by the time the
recapitulation began I felt that a little more vivace would
have been helpful. Amoyal’s deliberate approach continues in
the second movement. Here however it tends to make the scherzo
section bog down while producing breathtaking playing in the
trio. Amoyal has an excellent sense of structure in the slow
movement, but seems to be less interested in this than in the
first two movements. He finds the final Allegretto more to
his taste, though I would have preferred a little more energy
here. It should be mentioned that Pascal Rogé ably contributes
throughout and is especially notable in the Allegro.
This version of
the Franck String Quartet was recorded when the Fitzwilliam
was at close to its original membership, It provides a fine
example of their playing. The ensemble work is very good and
demonstrates a conversational approach that in its restraint
and attention to line is little heard nowadays. In spite of
the age of the recording, the playing is of such quality as
to make this disc preferable to most recent recordings. It
merits serious consideration by anyone looking for this piece.
Obviously recordings
made in 1978 and 1994 are going to vary greatly in sound quality,
which effect is only increased by the difference in venues. The
Quartet recording suffers less than one might expect because
the intimacy of the sonics at the Maltings concentrates the
sound so that the four musical lines are clearly heard. The
recording in the Barbirolli Hall does not serve the violin
and piano quite as well. The piano is miked too closely and
the violin sounds too far away. This will make non-fans of
Amoyal look for another budget recording, although those seeking
a recording of the quartet will be very pleased indeed.
William Kreindler
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Fitzwilliam Quartet: (Christopher
Rowland, Jonathan Sparey (violins); Alan George (viola); Ioan Davies (cello)) 
