Founded forty years
ago, the eminent Lindsay Quartet sadly
disbanded in July 2005. It was announced
that each of the four players were to
go their own separate ways. Enthusiastic
and often animated leader Peter Cropper
is continuing to perform as a soloist
and chamber musician. Cropper’s plans
include complete cycles and recordings
of all the Beethoven violin sonatas
with pianist Martin Roscoe. Cropper
and Roscoe have teamed up to form a
trio with cellist Moray Welsh. I am
looking forward to attending one of
their recitals at Stonyhurst College
in Clitheroe, Lancashire in a few weeks
time. The Lindsays have left behind
a legacy of wonderful recordings.
In my opinion there
are few things better in music than
the finest of Haydn’s String Quartets.
They are not recorded nearly as often
as their esteemed reputation deserves.
Ensembles tend to concentrate on the
chamber works of Mozart, Beethoven and
Schubert. The first project of the complete
recordings of the Haydn quartets,
that I am aware of, was from the Aeolian
Quartet on Decca between 1972 and 1976.
The acclaimed complete survey from the
Angeles String Quartet was recorded
between 1994 and 1999 for Philips and
won a prestigious Grammy award for ‘Best
Chamber Music Performance’ in 2001.
The other main contender is the celebrated
digital version of the complete cycle
from the Kodály Quartet.
Those were recorded for Naxos over a
ten year period. Although not a complete
survey the Lindsays have recorded many
of Haydn’s quartets for ASV and have
demonstrated a special affinity for
these scores.
The Lindsays frequently
issue live recordings of their recitals
but this release is a studio recording
that was made at the Holy Trinity Church,
Wentworth, in January, 2004.
The String Quartet
in D minor, Op. 42 although cast
in four movements is relatively short
in length and is technically one of
the less difficult of Haydn’s quartets.
In an excellent performance from the
Lindsays I admire the way they gracefully
provide the mood of relaxed give-and-take
in the opening movement and rhythmic
panache in the menuetto. The
pair of Op. 77 String Quartets are impressively
played with high integrity, maintaining
an impressive grip. Here the Lindsays
convincingly convey Haydn’s range of
experience from rustic earthiness, sociable
wit and lyrical tenderness. Ill health
prevented Haydn completing his String
Quartet in D minor, Op. 103 which
was his last attempt to write in the
genre. The Lindsays are able to blend
a commitment and enthusiasm that carries
the listener along with the exhilaration
of the moment, with appropriate measures
of graciousness and melancholy. There
are string quartets around with a higher
level of security of ensemble than the
Lindsays but very few with as much genuine
musical rapport with the composer.
Michael Cookson
The Lindsays: (Peter Cropper, violin; Ronald
Birks, violin; Robin Ireland, viola; Bernard Gregor-Smith,
cello) 
