This is a most welcome
release. This is the Quatuor Mosaïques’
second volume of this early set of six
Beethoven Quartets. Its release has
been eagerly anticipated since the acclaimed
first volume containing Op. 18, Nos
5 and 6, recorded back in 1994, on Naïve
E8541 [not reviewed].
Mosaïques have
carved out an outstanding reputation
in the quartet repertoire of the late
18th century and they are without doubt
the greatest quartet ensemble of our
time performing on authentic instruments.
They are celebrated the world over for
their ‘period-style’ interpretations,
which at the same time never lose sight
of the precious European quartet tradition.
Following their many benchmark recordings
of Haydn, Mendelssohn and the great
Mozart quartets, all on the Naïve
label, it is clear that this quartet
are in perfect phase to interpret the
new world explored by the young Beethoven
in these Op. 18 quartets.
The set saw the twenty-eight
year old Beethoven, now deep into his
first creative period, exploring what
was new compositional territory. Beethoven
had at the time already written a wide
range of chamber music, including string
trios, piano trios, cello sonatas, violin
sonatas et al. Previously Beethoven
had kept a respectful distance from
the genre of the classical string quartet,
that had reached the peak of its development,
so profoundly marked by Haydn and Mozart.
The impetus for launching
out on this challenging compositional
terrain finally came in late 1798 in
response to a commission for a package
of six string quartets from Prince
Lobkowitz, who was a native of Bohemia
and a leading patron of the arts in
Vienna. Though thoroughly grounded in
the classical tradition of Haydn and
Mozart, these quartets continually demonstrate
new attitudes, techniques and nuances
of expression. For the time, in these
quartets, the remarkable innovation
and incredible experimentation evinced
by Beethoven’s later quartets are subservient
to an exuberance and tranquil grace
that belong to an older order.
The turn of the century
was an extremely significant period
for Beethoven, as at the time of, or
shortly after, completing this Op. 18
set he was to astound the music world
with masterworks such as the Piano Concerto
No. 2 in B flat major, Symphony No.
1 in C major, Violin Sonata No. 5 in
F major ‘Spring’, Piano Sonata in C
sharp minor ‘Moonlight’, Symphony No.
2 in D major and the Piano Concerto
No. 3 in C minor. All this in a period
when Beethoven had confided to close
friends that his hearing was rapidly
deteriorating.
String Quartet
in F major, Op. 18, No.1
The F major String
quartet was the second of the set of
six ‘Lobkowitz’ Quartets to be composed
in 1799. The score, to which Beethoven
undertook some drastic alterations,
is particularly impressive for the highly
contrasting character of its four movements.
An unusual feature is the obsessive
way a simple two-bar motif is subjected
to extensive elaboration. In fact, this
motif appears, in various guises, over
a hundred times in the movement, passing
from instrument to instrument, constantly
changing its personality.
The distinguished Mosaïques
in this F major Quartet are authoritative,
communicative and intense. I especially
enjoyed the yearning and longing quality
of their performance in the tragic Adagio.
In the bright and cheerful Finale
their dynamic playing is vibrant
in momentum and bursting with wit.
String Quartet
in C minor, Op. 18, No.4
The fourth work in
the set of six ‘Lobkowitz’ Quartets,
the C minor String quartet was composed
in 1800 and is the only one to be set
in a minor key. Another unexpected and
curious structural feature of the four
movement score is the lack of a slow
movement, instead utilising both a Minuet
and a Scherzo. It is also striking
that in both the opening movement and
the Finale the role of the first
violin is treated in a markedly concertante
and virtuoso fashion.
In the C minor Quartet
Mosaïques offer unalloyed pleasure
in a broad and expansive interpretation
and their sentient playing is of sterling
quality. Dramatic playing in the opening
movement offers unsettling and contrasting
moods that vary from dark and brooding
one minute to exciting intensity the
next. The second movement, which is
a Scherzo, is especially memorable as
Mosaïques play with humour and
playfulness, yet maintaining a suitable
sense of restraint.
For the Naïve
label Mosaïques on period instruments
are peerless in these works and in any
case have few similarly equipped competitors.
Using modern instruments my preferred
version of the Op. 18 six is
from the Italian Quartet, recorded in
Switzerland during 1972 -75 and presented
in a three disc boxed set on Philips
464 071-2. Also worthy of consideration
are the accounts from the Talich on
Calliope. They were the first to accommodate
all six works on two discs, available
on two volumes; CAL 9633 (Nos. 1-3)
and CAL 9634 (Nos. 4-6). Both these
analogue sets from the Italian and the
Talich have been digitally remastered,
repackaged and re-released at bargain
price. A third modern instrument version
that I would not wish to be without
is the digital account from the Alban
Berg Quartet. They offer fine live performances
recorded in Vienna in 1989 over two
discs presented on the bargain priced
‘Great Artists of the Century’ series,
on EMI Classics 5627782.
There would have to
be a third volume should Mosaïques
decide to record the last two works
in Beethoven’s Op. 18 set. I realise
that performances on period instruments
are a niche market but this strategy
hardly represents good value considering
the very modest cost of the available
sets from the competition. The sound
quality from the Naïve engineers
is cool and reasonably clear and the
performers are very closely recorded.
Interesting and reasonably informative
liner notes are provided.
Quatuor Mosaïques
are an astonishing ensemble who deserve
the utmost praise for these magnificently
performed scores.
Michael Cookson
Quatuor Mosaïques (Erich Hobarth (violin);
Andrea Bischof (violin); Anita Mitterer (viola);
Christophe Coin (cello)) 
