Amadeus Quartet
Johannes Brahms ((1833-1897)
String Quartets, Op. 51, Nos. 1-2, Op. 67
Antonín Dvořák (1841-1904)
String Quartet Op. 96 in F major ‘American’
Joseph Haydn (1732-1809)
String Quartet Op. 76, No. 3 in C major ‘Emperor’
rec. 1953 (Haydn), 1960
ADD stereo/mono
Alto ALC1611 [2 CDs: 139]
One of the most renowned string quartets in history, The Amadeus was active for forty years from 1947 to 1987, when the first member, Peter Schidlof, unexpectedly died from a heart attack aged 65, at which point the group disbanded, having vowed to remain together for as long as they were all alive – even though they didn’t actually get along that well. They made over 200 recordings together and Alto has compiled this out-of-copyright selection from those. To have included all three of Brahms’ quartets and none by Mozart, Schubert or Beethoven strikes me as a little odd, given the title of the collection, but to be fair, it says “great”, not “greatest”…
The subtitle on the double-CD cover also says “Legendary Recordings”. The competition in these works is fierce, however; for example, a year ago I praised the Alexander’s new digital account of the Brahms quartets on the Foghorn label (review) as one of the finest available and more recently I endorsed the Wilhan Quartet’s ‘American” on Nimbus (review). The same goes for the ‘Emperor’ quartet here – especially as it is in mono sound. Having said that, the Brahms quartets, recorded in 1962, were for many years the top recommendation in the Penguin Guide and indeed they were issued years ago in the DGG ‘Originals’ series and the remastered sound is very pleasing; of course, it will always be a little muddy and two-dimensional compared with the experience modern digital engineering can provide, but there is virtually no hiss, plenty of treble definition and a nice solid bass sound, even in that mono Haydn recording – so that is no great barrier to enjoyment.
The luscious sound of Norbert Brainin’s first violin, with its pronounced vibrato and full, but piercing tone, does not please all ears and occasionally one feels that he is too prominent in ensemble, but I have to say that I enjoy it in the same way I appreciate a dramatic soprano. That is especially noticeable in the soaring passages of the Lento in the ‘American’.
Despite being written around the same stage in Brahms’ life – the mid-1870s – his three quartets are very different in character: the first is predominately restless and Angst-ridden and there is no real sense of resolution at its close; the only respite is the serene, second movement Romanze. The second quartet is far less agitated, more exultant and the Amadeus rise to that exaltation, just as they embraced the dark in the first quartet. The third is characterised by a more homespun, bucolic good-humour often redolent of the Ländler and suggestive of the composer feeling at one with the river and forests of Ziegelhausen where he was on holiday while it was composed. The Amadeus share the same capacity I remarked upon regarding the Alexander Quartet to evince a chameleon ability to adapt to the demands of the swift succession of moods Brahms’ music demands.
As sunny, energised and civilised as the Haydn is, I cannot think I shall reach for it very often when we have so many fine digital versions to choose from. That and the slight balance issue of an occasionally over-loud first violin apart, I cannot fault these performances. They are deeply felt and beautifully played with flawless intonation and ensemble; listening to playing this good amply explains why the Amadeus enjoyed such a position of pre-eminence for so long.
Ralph Moore
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