Claude Debussy (1862-1918)
String Quartet in G minor, Op.10 (1893)
Karol Szymanowski (1882-1937)
String Quartet No. 1 in C major, Op.37 (1917)
String Quartet No. 2, Op.56 (1927)
Belcea Quartet
rec. 2022-24, Frankfurt, Germany
Alpha Classics 1074 [65]

Recordings of Debussy’s String Quartet are often coupled with Ravel’s Quartet, and occasionally with Dutilleux’s Ainsi la nuit. It is refreshing to see Szymanowski’s two works in the genre instead of French pieces again. Szymanowski’s quartets have not quite received their due on disc. For me, they belong with the quartets of Janáček and Bartók as equally important in twentieth-century chamber music.

From the start, one is aware of the presence of this recording. I found myself lowering the volume several notches because the closeness to the musicians. It is almost as if you were right with them. Once I adjusted the volume, their superlative musicianship became paramount. In the Debussy, the quartet’s blend is something to behold. They seem really engaged with the music, and play with good dynamics and clarity. There is more variety in their tempi compared to other groups, including their own earlier account on Warner. They take their time in the more reflective passages in the first movement, but do not overmilk themes. Violist Krzysztof Chorzelski’s tone has notable resonance.

The scherzo with its dominant pizzicato is terrific and full of energy, while the slow movement is deeply felt and beautifully played. The vibrato is exquisite and not overdone, and the unison playing is perfectly in tune. The Belcea take their time in the finale’s introduction; cellist Antoine Lederlin plays gorgeous solos before the others join in and later pick up the tempo. I like the way they emphasize the return of the first movement’s main theme.

I compared this recording with the Belcea Quartet’s earlier version on EMI/Warner and the more recent by Quatuor Hermès on La Dolce Volta. Both are coupled with Ravel’s and Dutilleux’s quartets. The earlier Belcea, more distantly recorded, may have less character, but is played well. The approach seems cooler and less impressionistic than their new account and that by the Hermès. Some of that perception may have to do with the more distant sound. The Hermès play with much warmth and shading, and are recorded with great presence (review). Their recording has more in common with the new Belcea, though the sound is not quite as close. Quatuor Hermès’s account has been my first choice ever since it was issued, but the new Belcea is every bit its equal.

The Szymanowski quartets have been less lucky on disc, but there have been several successful recordings in the past. Three among those are by the Goldner Quartet on Naxos, the Silesian Quartet on CD Accord and the Royal String Quartet on Hyperion. My comparison was with the Goldner Quartet’s recording, which I have in my collection. Both works owe something to the French Impressionism which influenced Szymanowski early in his career. Yet both move beyond that influence to something quite personal and advanced.

Szymanowski intended his First String Quartet to be in the traditional four movements, but the composition was interrupted by the Russian Revolution. The quartet was only premiered in 1924, and it lacked a finale. Even so, the alla burlesca scherzo which ends the piece makes for a most satisfying conclusion. As with the Debussy, the Belcea Quartet’s account is recorded more upfront than that of my comparison. The Goldner Quartet do not shortchange the dissonance and chromatic nature of the music, and neither do the Belcea. The latter have a greater dynamic range with more variety of tempo and articulation.

The Goldner perform the slow movement semplice in the manner of a song, as marked. The Belcea are slightly more extroverted, but still simple and beautiful, and the inner parts are more apparent. Their cello after 3:00 is glorious, and they play with some discreet portamento. Both accounts are vivacious in the scherzo, as indicated in the score, and bring out the jovial mood of the music well. If anything, the Belcea are more energetic, with greater contrasts in tempo. They are electrifying and execute with utter conviction.

The Second String Quartet is initially more difficult to appreciate. According to Jean-Michel Molkhou’s perceptive discussion in the accompanying booklet, the work is a “clear tribute to Ravel”. This is particularly true of the first movement. The second and third movements, however, betray the influence of the folk music of Szymanowski’s beloved Tatra Mountains – something noteworthy in his later compositions. The mysterious beginning of the first movement, with its pensive theme, is very evocative. Both ensembles do justice to the music; the Belcea’s pizzicatos are at times quite vehement.

The wild scherzo that follows is quite a contrast. In its dissonance and percussiveness it has a Bartókian flavour. There is little to choose here between the two groups, though the Belcea’s greater dynamic variation is even more effective. The slow finale has a pervasive feeling of melancholy, of loneliness. Whereas there is plentiful anguish in the Belcea’s performance, their warmth – even seduction – is quite special. Those qualities are also present in the Goldners’ account, but not to the same degree.  Indeed, the Belcea’s playing is supreme, with vivid recording to match.

In my opinion, this new recording of the Szymanowski quartets is the one to get, especially as it comes with Debussy’s work in an equally superb performance. For best results, I suggest lowering the volume a bit to gain a more realistic experience.

Leslie Wright

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