Franz Joseph HAYDN (1732 - 1809)
The Seven Last Words of our Saviour on the Cross, Seven Sonatas with Introduction and Conclusion; Op. 51, Hob XX 1B (III Nos. 50-56) (version for string quartet, 1787) [65.46]
Borodin String Quartet
rec. 1993, TELDEC Recording Studio, Berlin
TELDEC 4509-92373-2 [72:50]
Paul Shoemaker admiringly reviewed the live performance of the Seven Last Words by the Borodin Quartet in Moscow in 1984 but remarked that the recording was made “apparently during a bronchitis epidemic”; it must also be noticed that apart from the sonic advantages of this studio version made almost a decade later, it is some seven minutes slower and consequently more serene and reflective. The frequent pauses and rallentandi do not impede the flow of the work but rather enhance its intensity. As such, it is surely the better option if you want the Borodin Quartet in this work – and despite owning and esteeming several other string quartet versions, I most certainly do want this above all.
There are several other ways to hear this music; to name some favourites, there is that arranged for orchestra, as per recordings by I Solisti di Zagreb on Vanguard Classics and the BPO under Muti on Philips, the version for solo piano, beautifully executed by John McCabe and even a choral/oratorio arrangement performed by Harnoncourt on Teldec and more austerely by Nicol Matt on Stemra, but my ultimate preference is to hear it played by a string quartet. My first exposure to the work in that form was the Kodály Quartet on Naxos. They remain excellent but I have since gravitated towards the Pražák Quartet on the Praga label, who bring a fierce profundity to the work and observe repeats; however, this one from the Borodin is special in its own way, too: it is an unashamedly Romantic account, with lush string tone and judiciously applied vibrato but this, the most spiritual and devotional of compositions and the music, can take that approach. Intonation and co-ordination are flawless and the sonority and homogeneity of the strings here are simply life-enhancing. One of the essentials for a successful realisation of this sombre, but gravely beautiful, music is a strong bass line; the cello harmonisations lie at the heart of its emotional impact and the Borodin Quartet matches the Pražák in this regard. Meanwhile, first violin Mikhail Kopelman floats serenely throughout, only occasionally giving bite to his attack of a phrase to avoid sentimentality. The drive of the final “Il Terremoto” section is really arresting.
Equally vivid and arresting is the digital sound quality: very immediate but without the grunting sniffing and hissing which afflicts too many closely-recorded quartets. Everything about it makes this one of my favourite string quartet recordings.
Ralph Moore
Performers
Mikhail Kopelman (violin); Andrei Abramenkov (violin); Dmitri Shebalin (viola); Valentin Berlinsky (cello)
