Selected comparisons:
Opus 18/6
Lindsays ASV DCA 1113
Quatuor Mosaïques Naïve E 8899
Fine
Arts Quartet EVEREST EVC 9051/52
Alban Berg Quartett (Live) EMI 5 62778
2
Opus 127
Hagen
Quartet DG 477 5705
Kodaly Quartet NAXOS 8.550563
The
Henschel Quartet first came to my attention with a very fine
performance of 2 Schubert Quartets, followed by their highly
praised Mendelssohn cycle (both on Arte Nova). Volume 3 was
reviewed
in 2005.
Now
they are adventuring into Beethoven and whilst I would enjoy
these performances live; the competition is so great and there
are disappointments that it is difficult not to be slightly
underwhelmed at first. It is interesting that they are embarking
on a Beethoven set as Arte Nova already boast a set by “The
Alexander Quartet” (Arte Nova Classics: 74321-63637-2) which
I look forward to reviewing soon. I notice that Michael Cookson
reviewed this CD 18 months ago yet it is only now being covered
in the main music magazines!
Op.
18/6 starts with some tempo problems in the unforgiving first
movement. I’ve heard a first rate quartet come unstuck live
in this piece and here they seem rushed. The Henschel’s tempo
is similar to the “Fine Arts” but the American quartet seems
more able to cope! The “Authentic” Quatuor Mosaïques in their
wonderful “non acidic” performance take over a minute longer
and the music is all the better for it. The problem with this
work is that it is still “early” but has the worst challenges
in that the Op. 18 are the hardest for string players to perform
and they look forward to those intricate “later” quartets. In
the second Lindsay’s travail they are also fast in the beginning
of this movement but seem much more of a piece than the Henschels.
Things settle down later on and the slow movement gets deeper
into the music whilst still on the speedy side. Interestingly
the finale which directly points to the “late” quartet’s texture
is at 8’11” adjacent to the Fine Arts 7’55” and Lindsay’s 8’24”,
but it’s the latter group who seem to be getting more to the
heart of the music. A cousin of mine refused to hear the Lindsays
because she reckoned they were “too rough” but I feel they were
in the spirit of the Busch who sadly did not record this piece.
Op.
127 starts off well although some sniffing doesn’t help! The
playing in this generally demanding quartet is fine; for example
I’d be thrilled to hear this live, especially the Adagio
ma non troppo and finale. This though is a CD and even at
budget price the listener needs a deeper and less superficial
- to my ears - rendition. The Kodaly on Naxos at similar cost seem to provide a fuller performance and is coupled
with Op. 59/3. The Kodaly’s adagio at a slightly faster tempo
nonetheless seems to convey more of Beethoven’s anguish which
permeates as a constant though not constantly throughout these
late masterpieces. Turning to the Hagen at full price finds a different class
of playing with power and knowledge “behind the notes” seemingly
very tangible. With the Henschels I was impressed by fine playing
but don’t think they are quite ready to inhabit the sound-world
of late Beethoven which is so much more than just the notes.
The Henschels show you the world but the Hagens draw you into it which may risk accusations
of pretentiousness but is one of the finest examples of art
mankind has produced.
As
I stated at the outset the Henschels are entering an extremely
competitive field and they remain a very bright prospect but even
at budget price there is so much choice. This is a good disc and
in isolation very enjoyable and stimulating; the harsh fact remains
that at the moment I prefer the Lindsays and the Hagens and for
example the earlier, 1980s Lindsays set of all 16 quartets (8
CDs Resonance RSB 801) can be bought for around £20 if
you shop around! I look forward to hearing more from the Henschels
but suggest they might leave Beethoven for a while.
David R Dunsmore
see also Review
by Michael Cookson
Henschel Quartet
