Formed in 1999 the
Matangi Quartet from The Hague, Holland
have achieved a number of impressive
accomplishments in a relatively short
period of time. In 2002 they received
the Almere Chamber Music Award and the
Anton Kersjes Award and continue to
work closely with the world famous Amadeus
Quartet. This issue on independent Dutch
record label Challenge Records, titled
Première, is stated
as the debut release from the Matangis.
I have noticed at least one other recording
from the Matangis under the title ‘Scandinavia’
featuring string quartets from Grieg;
Monrad Johansen and Röntgen.
Schubert’s ‘Quartettsatz’
comes just after the famous Quintet
in A major ‘The Trout’ and
shortly before the equally famous Symphony
No. 8 ‘Unfinished’. The
score is an enigma since it consists
of an extended single movement. It is
thought that Schubert intended the work
to be the opening movement to a traditional
four movement string quartet. It is
not known why Schubert didn’t write
the other movements. Marked Allegro
assai the ‘Quartettsatz’
movement is one of Schubert’s finest
chamber compositions.
The Matangi is fresh
and fully committed in the ‘Quartettsatz’.
There is vigour to their playing but
they cannot match the assurance of rival
versions from the Lindsays on Resonance
and the Brandis Quartet on Brilliant
Classics. I detected some unsteadiness
from the leader that would unduly unsettle
the technical security of the quartet.
My first choice for
the ‘Quartettsatz’ is a thrilling
performance from the Lindsay Quartet
that emphasises the exciting and dramatic
power and broad ideas of the score.
It is available as part of a commemorative
four disc box of Schubert’s late string
quartets, to mark their disbandment
in July 2005 (Sanctuary Classics Resonance
RSB 403). The Brandis give a finely
judged account that contains a special
warmth; recorded in 1995 available on
a double set Brilliant Classics 92288.
Haydn’s Op. 20/4 forms
part of his Op. 20 set of six scores
that are generally regarded as the first
real masterpieces of string quartet
writing. This set has become known as
the ‘Sun’ Quartets after
a design of a publisher’s trademark.
Haydn developed each quartet as an individual
character and managed to achieved an
impressive and distinctive range of
tone-qualities from all four instruments.
There is a rather tentative
start from the Matangis in the opening
movement Allegro di molto. However
matters improve and their biting attack
in the sturdy main motif is impressive
at points 0:32-0:35; 0:38-0:41; 2:34-2.37
and 2:40-2:43. Here the nobility attained
by the Quatuor Mosaïques on Naïve
Astrée is never in sight. In
the Un poco adagio e affettuoso the
recurring gypsy-like theme is excitingly
played by the Matangis and their control
in the dreamy passages is impressive.
In the very short minuet, marked
Allegretto alla Zingarese,
complete with the folk-like melodies,
the players at times seem to lose their
way. The Dutch players provide a reading
of infectious wit and rhythm in the
brilliant Presto e scherzando
final movement. Overall the Matangis
could have improved their security of
ensemble but their ardour and devotion
for this Haydn score is never in doubt.
My preferred version
of Haydn’s Op. 20/4 is the highly refined
and perceptive performance from Quatuor
Mosaïques on Naïve Astrée
E 8802. Founded in 1985 Mosaïques
are undoubtedly the finest string quartet
performing on authentic instruments
and have in my view produced benchmark
recordings of quartets by Schubert,
Mendelssohn, Beethoven and Mozart. I
also often play the fresh and joyous
account on modern instruments from the
Kodály Quartet that was recorded
in the pleasing acoustic of the Unitarian
Church in Budapest in 1992 on Naxos
8.550702.
During
his stay in America from 1892 to 1895
Dvořák composed some of his finest
works, culminating in 1893 with his
famous Symphony No.9
‘From the New World’.
Dvořák spent his summer holidays
at a Bohemian colony at Spillville,
Iowa where he felt immediately at home,
finding happiness and security in the
company of his émigré countrymen. There
Dvořák composed his String
Quartet in F major, Op. 96 ‘American’
to instant acclaim and a enduring popularity.
In the ‘American’
Quartet the Matangis attack the
extended opening movement Allegro
ma non troppo rapidly with an excess
of eagerness that loses an element of
nostalgia. There is some unsteadiness,
especially evident in the famous main
theme at points 1:33-1:56 and 3:56-4:20
that prevents achieving the poetry of
the rival versions from the Takács;
Travnicek and Talich Quartets. A more
consistently smooth approach from the
Dutch players would have been preferable
in the second movement Lento
with the long and sensuous song-like
melody which is the heart of the F
major score. It has been said that
the central theme of the Molto vivace
movement was inspired by birdsong
which is given a reading brimming with
rhythmic vitality by the Dutch quartet.
Evocative of country folk-dancing the
concluding movement marked Vivace,
ma non troppo is performed with
masses of verve but the reading does
not entirely convince owing to playing
that verges on the unruly.
In this vastly competitive
market for the ‘American’
Quartet I can suggest three alternative
recordings from my collection
that I believe are in a different league
to this release. My principal recommendation
is from the original Hungarian line-up
of the Takács who had a special affinity
with Dvořák’s scores. The Grammy
award-winning Takács offer a joyous
performance from 1989 in the
Henry Wood Hall, London contained on
their four disc set ‘Takács
Quartet - A Celebration’ released
in recognition of their thirtieth anniversary
season, on Decca 476 2802. The ardent
expressiveness and dazzling rhythmic
drive of the Takács is most impressive
and I particularly enjoyed their splendid
interpretation of the folk-song like
melodies and dance rhythms in the final
movement.
I have a great personal
affection for the satisfyingly expressive
1994 performance from the Travnicek
Quartet on Discover DICD 920248. Another
rewarding and insightful version that
I admire is from the renowned Talich
Quartet as a part of a three disc Dvořák
box on Calliope CAL 3229.1. An
acclaimed account likely to be encountered,
although not a version that I know
too well, comes from the Hagen Quartet
on Deutsche Grammophon 419 601-2. There
are also devotees of the performance
from the Vlach Quartet, Prague on Naxos
8.553371.
The acceptable sound
quality from Challenge Classics is cool
and bright with a slightly forward balance.
I found the booklet notes a disappointment
as they provided little information
about the three scores.
Overall I found the
Matangis unable to come close to the
poetry, refinement and sensitivity provided
by the best of the rival versions. I
would have preferred smoother playing
and improved dynamic contrast with a
more judicious selection of tempos.
I didn’t always enjoy the tone of the
first violin and the cello playing wasn’t
convincing either. Not surprisingly
there is much room for improvement in
what I would describe as a ‘promising
debut’ from this six year old quartet.
On the evidence of this maiden release
it is certainly worth following the
progress of the Matangi.
Michael Cookson
for
details
Matangi Quartet: (Maria-Paula Majoor (violin);
Daniel Torrico Menacho (violin); Karsten Kleijer
(viola); Nander Cirkel (cello)) 
