Haydn String Quartet in G Minor Op 20 Concert Review

Haydn's Quartets pose several questions when being recorded; should it be a complete opus and if so, in what order. In 2019, Quatuor Hanson demonstrated a profound knowledge with a artistic programme that contained a snapshot of the composer's œuvre (see our review). The London Quartet, in their single release of Haydn'due south Op. 20, programmed the Quartets in numerical lodge, whilst the Doric Quartet produced a thoughtful programme ending with the A major. The Dudok Quartet Amsterdam released their Op. 20 in two separate albums. Their first disc, recorded in May 2019, programmed Quartets 2,3 and 5; their 2d album completes the opus with Nos. ane, 4 and half dozen and was recorded in August of the same year.

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From the starting time notes of the beginning volume (The Thou pocket-size Quartet), the Dudok'southward audio sets them apart. Richer than the London Haydn Quartet but more elegant than the Doric Quartet, who are more akin to the Lindsays. The get-go and last movements are bold and are two of the about spirited movements of the gear up. The C major String Quartet brings sunshine sandwiched between the two contrasting small-scale Quartets, though not without its darker moments. The Dudok find a yielding warmth throughout, whilst the Doric are brighter in tone and bring a more than angular approach. Concluding the first book with the F small Quartet, this performance delicately highlights both the lighter and darker moments, ofttimes starkly and abruptly juxtaposed. The fugue, which forms the final movement, has a reserved character, ending quite enigmatically. By contrast, Quatuor Hanson are more than certain overall, with stronger dynamics and rhythmic drive.

Turning to book 2, the Dudok open the allegro moderato of the E-flat Quartet sprightly, bringing a transparency to the textures. I've found this functioning especially successful, communicative and commanding. the D major Quartet, Fifty-fifty more than the previous performances of Op. 20, reveals an exceptional level of unity between the players, and the stylish playing makes them a pleasure to mind to. The minuet and trio have the occasional, fashionable embellishment, creating an air of spontaneity. The presto scherzando brings vivacity in this by and large serious reading.

Related Classical Music Reviews

• Review: "All Shall Not Dice" – Haydn Cord Quartets – Quatuor Hanson
• Review: Haydn – Complete Symphonies, Vol. viii, "La Roxolana" – Antonini
• Review: Beethoven – Cord Quartets No. thirteen, xv – Tetzlaff Quartet

The final Quartet of the set, in A major, is total of lite, sunshine and warmth. The first motility has free energy and momentum, and the cantabile of the slow movement is apparent. Here I occasionally felt that the phrasing doesn't fully let the melodic line to sing, fifty-fifty though the underpinning accessory is sensitively balanced. But the cursory Minuet and trio are executed with innovative dynamics, and the gentle rubato shapes it into something whimsical and enchanting. The finale is another fugue, providing a fascinating way to conclude the program, echoing that of the Doric.

The Dudok play on gut strings and customized bows (which the booklet only says are "classical" bows). This instrument choice brings a very different quality from Quartet Mosaïques, famed for their period-instrument performances. The textures of the music are kept open and transparent, with a lighter cello line that comes to the fore every bit the music demands. They are not afraid to use gentle vibrato to color their sound, executed sympathetically, with consistency and style. This is far from light-hearted performances, for better or for worst; ornaments are unobtrusive and then as non to backbite from the melodic line, and phrasing is observed with sincerity to the markings, perhaps, occasionally, too rigidly. The famous Haydn humor is lacking on occasion, and in those cases the music is taken a little more seriously than other performances.

The recording of both volumes, captured in the aforementioned location (Kingdom of the netherlands' Muziekcentrum van de Omroep, Hilversum) – is not equally closely recorded as the Doric, but the instruments are balanced more than as one would hear them live. Overall, the Dudok give performances that are essential listening for any chamber music or Haydn fan, with elements of both menstruation sound and modern performance practice.

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Haydn – String Quartets Op. xx, No. 1-6
Dudok Quartet Amsterdam:
Judith Van Driel – Violin 1
Marleen Wester – Violin ii
Marie-Louise De Jong – Viola
David Faber – Cello
Resonus, CD RES10248 (volume ane), RES10262 (book two)

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Haydn Op. 20 String Quartets – Recommended Comparisons

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