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Wolfgang
Amadeus MOZART (1756-1791) Chamber Music CD1
Divertimento for violin, viola and cello in E flat major K563 (1788) [49:21]
Quartet for oboe, violin and ‘cello in F major K370 (1781)
[14:32] CD2
String Quartet no 14 in G major K 387 (1782) [21:11]
String Quartet no 15 in D minor K 421 (1783) [30:45] CD3
String Quartet no 16 in E flat major K428 (1784) [33:40]
String Quartet no 17 in B flat major K 458 “The Hunt” (1784)
[32:49] CD4
String Quartet no 18 in A major K464 (1785) [37:42]
String Quartet no 19 in C major K465 “Dissonance” (1785)
[38:06] CD5
String Quintet in B flat major K174 (1773) [39:52] String Quintet in
G minor K516 (1787) [39:33] Smithson
String Quartet (Jaap Schroder (violin), Marylin McDonald
(violin) Judson Griffin (viola) Kenneth
Slowik (cello), Lisa Rautenberg (2nd viola in
K174 and K516))
rec. Chateaubriant, France, 19-23 September 1990 (disc 1);
Evangelische Kirche, Honrath, Germany, 16-23 October 1989
(Discs 2-4); Rosslyn Hill Chapel, Hampstead, London, UK,
17-21 October 1990 (Disc 5). DDD VIRGIN
CLASSICS 3727782 [5 CDs: 63:58 +
66:17 + 66:34 + 75:53 + 79:13]
I
have often thought that Mozart’s sublime quartets 14 to 19,
mark one of the greatest gifts from one composer to another.
The relationship between these two masters was clearly very
close and marked by mutual admiration and respect. One only
has to consider the profound effect the news of Mozart’s
death had on Haydn, engaged as he was on the first of his
visits to London. At such a vast distance from Vienna, Haydn
didn’t learn about the tragedy for several weeks. When the
news finally reached him he could only record with difficulty
in his notebook “Mozard starb den 5th Dec”. It
was only later that he could bring himself to write to Johann
Puchberg: “For some time I was beside myself about his
death, and I could not believe that Providence would so soon
claim the life of such an indispensable man.”
The
works were actually inspired by a set of quartets composed
by Haydn. His Op 33 had been published in Vienna in April
1782 and Mozart heard them soon afterward. It seems they
immediately inspired such enthusiasm that he decided to embark
upon a series of his own. Since he had in effect abandoned
the genre some nine years earlier, in 1773, the task he had
set himself was not easy, especially as he was determined
to make them worthy of his friend’s dedication. His struggle
is clear from the length of time it took for them to appear,
as well as hints in his dedication, (“they are undeniably
the fruits of long and laborious efforts”). Indeed they provide
a salutary reminder that not everything Mozart touched was
the product of “effortless genius” as some would have us
believe. Nevertheless all the hard work was certainly well
worth it.
Such
was their effect that at a recital attended by both Leopold
Mozart and Haydn, in Vienna on 11 February 1785, the latter
confided to Leopold: “In all honesty and as God is my
witness I am compelled to tell you that your son is the greatest
composer that I have ever come across; he exudes style but
more than that he masters the science of musical composition
par excellence.”
These
so-called “Haydn” quartets then form the core of this collection
from Virgin Classics. In addition to these works we have
two of Mozart’s quintets, plus the oboe quartet and the magnificent
trio, or rather divertimento, K563. On the face of it a rather
odd assortment it has to be said, and for a while I was perplexed
as to whom exactly this collection was aimed at.
Leaving
aside the uncharitable view that this is merely a “hoovering-cum-cheap-reissue
exercise”, I would suggest two possible target audiences.
Either the aim is to provide a useful and inexpensive collection
for the impecunious newcomer, or perhaps provide an opportunity
for the more seasoned collector to try some or all of these
works on original instruments.
I
listened to the discs in fairly random order, dipping first
into the quintets. The nervous, anxious quality of the opening
of K516 is well caught by these players; indeed the overtones
of that other great G minor masterpiece, the Symphony no
40, are thoughtfully underlined. The playing is clean and
clear, without any tendency to squeeze and distend individual
notes, noticeable in some of the earliest recordings claiming
historical awareness. Rosslyn Hill Chapel provides perhaps
the most resonance of the venues used, but this positively
helps in the 3rd movement of K516 by creating
a veiled warmth, like the slow guttering of a candle, which
seems most appropriate. The finale, like the opening movement,
begins with a tense introduction, although in this case it
gives way to a delightful lolloping theme, like a gentle
outdoor canter. In all I thought the performance measured
up favourably to the famous Grumiaux Ensemble recordings
on Philips (Mozart Edition Vol. 7 464 830 2), although some
may prefer the slightly drier studio warmth of that set.
Turning
to the quartets, a wonderful melding of enthusiasm and diligence,
I found much the same positive qualities. Spurred on by Haydn’s
example, Mozart decided to exercise great craft and match
the skill and deep understanding of his great contemporary.
In his dedication he refers to the older man as “my dear
and trusted friend”, and refers to the quartets as his “six
children” which he entrusts, “to the protection and guidance
of a man who at the time was very famous. Fortunately, this
famous man happened to be the best friend of the father..”
The “Hunt” in
the Smithson’s hands is generally a delight, the quartet
in particular capturing the joy and playfulness of the finale.
I only queried the rather overemphasised first note of the
three note second phrase in the minuet (i.e. de da
dum, de da dum, de da dum) that I felt rather
upset the line. Any reservations I had however were soon
dispelled in the “chase-my-tail” finale, a genuinely carefree
outcome.
Meanwhile
the tensions and false relations of the “Dissonance” quartet’s
opening are well realised without undue emphasis, perhaps
something more clearly caught by original instruments ? The
players incidentally perform on genuine period strings not
modern copies. Jaap Schroder’s experience shines through
particularly well in this opening movement, especially in
the way he handles the difficult figurations for the first
violin with aplomb.
Finally
in relation to the quartets, mention must be made of the
first of their number K387, which has the unusual feature
of a fugal device in the finale. This is no
po-faced
descent into academia however; in Mozart’s hands the device
is transformed and enhanced into a marvellous “opera buffa” type
finale, the players here evidently enjoying themselves and
exhibiting great verve.
Incidentally,
I should observe that the Smithsons observe pretty generous
repeats throughout, making these quartets quite substantial
works. This is not a factor one can always assume or take
for granted. For instance the otherwise interesting set by
the Guarneri
Quartet (RCA Red Seal Complete Collections 82876 60390
2) ignore many of them completely. Apart from aesthetics,
this results in their discs averaging around 45 minutes in
length, whilst the Smithson’s are nearer 65!
To
complete our roundup we turn to the opening disc, containing
the great Divertimento K563 and the Oboe Quartet. Here once
more the players rise to the challenge of the music and again
provide favourable comparison with any of their distinguished
forebears. The French venue used by the Smithsons is very
slightly drier than those used for the quartets and quintets,
with good effect; possibly also the players have been placed
marginally nearer the microphones.
Overall
the quality and insightfulness of the playing throughout
this enterprise is very welcome, albeit perhaps no great
surprise given the personnel involved. After all Jaap Schröder
combined with Christopher Hogwood to record all the Mozart
symphonies for L’Oiseau Lyre in the early 1980s, whilst the
cellist Jaap ter Linden (in K563) also presided over a set
of the complete symphonic works for Brilliant Classics.
I
have derived a great deal of enjoyment and insight from this
set and would be willing to give it a fair welcome. … albeit
with two small but important reservations.
Firstly,
given a presumed target audience of the impecunious newcomer,
why do the notes make no reference at all to the two quintets?
This is odd to say the least and appears to demean one fine
and one great work. Worse however is to follow. The poor
compiler can’t have been aware of the finished pressings
since the playing order on disc 3 is actually the reverse
of the listing – the “Hunt” quartet comes first not second!
Anyone coming to this wonderful music afresh would be completely
flummoxed – let alone if they tried to match up what they
were hearing with the sleeve-notes. A ha’poth of tar anyone?
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