# Tchaikovsky - String Quartet 2 op.22 (SQ review)



## Merl (Jul 28, 2016)

Tchaikovsky's 2nd String Quartet was composed between December 1873 and January 1874 and premiered on 22 march 1874. Tchaikovsky in a corrspondence said of it, "I regard it as my best work; no other piece has poured forth from me so simply and easily. I wrote it almost at one sitting."
The opening Adagio introduction is lyrical and poetic followed by the restless, Russian-sounding moderato assai. The coda ends the movenent softly. The following scherzo has a typical Russian rhythm and a sharp trio has a waltz motif for its theme. The 3rd movement, Andante ma non tanto, paints a scenic picture but is full of agitated harmonies and rhythms. The finale, Allegro Con moto, is lively, tuneful and rich, full of brio and with a triumphant air.






Recommended

Vermeer
Rusquartet
Moscow
Endellion
Weithaas, Kang, Ridout, Tetzlaff
Copenhagen
St. Petersburg
Petersburg Philharmonic Quartet
Shostakovich

*Better

Keller* - warm and highly emotional performance. Not especially Russian in feel but playing of this calibre is impressive.
*Manfred* - much broader than most but there's an earthy, honest charm to this account that I thoroughly 'got'. Splendid sound.
*IPO Richter *- a performance all about balance. There's no big accents or driving rhythms from the Israelis but there's a rightness about this performance.
*New Haydn* - fine ensemble playing and they are alive to the changing moods of this quartet, playing with elan and steel in equal measure. Impresses more with subsequent plays.
*Taneyev* - the uber-Russian violin tone is very compelling in this earthily recorded account but forward momentum is excellent. 
*Ying* - a case of a beautiful recording, technically highly skilked, well-paced and well-balanced so why is it not at the top? Well, for all it's surface beauty I never felt they were feeling the music fully. Listen and you may agree.
*Klenke* - very limited vibrato but this account is one I find intriguing. It has a different feel to many and I find it hard to put my finger on exactly why but I do love its urgency and intensity.
*Danel* - a rather fine (if a little 'sniffy') recording but once you adjust to the extraneous noises it's a bloody good, earthy solid recording that harkens back more to the style of the 50s Borodins.
*Ruysdael* - this one grew on me with each play. Finely balanced recording that spotlights each instrument beautifully.

*Special

Gabrieli* - save for a slightly over-romantic andante and quite a bit of vibrato this is a damn fine recording with tons of presence. The opening 2 movements are particularly engaging and the Gabrieli clearly love this work.
*Borodin (Chandos/Alto/Urania 1957) *- not surprisingly, a little hissy but this unsentimental, vibrant yet rich account makes up for its sonic shortcomings. The finale is full of edge-of-the-seat playing.
*Borodin (Melodiya/EMI 1977) *- mostly similar in realisation to their 1957 recording but with better sound and a more placid finale. The playing is a little more delicate, contolled, deliberate and detailed here than their earlier account and I'd have liked a bit more of a roller-coaster ride but it has so much class it's hard not to feel good when the Borodins play Tchaikovsky. .

*Top Picks

Utrecht* - urgency, depth and a rhythmic flow mark out the Utrecht's and 2nd as equal to their fabulous 1st. Listen to bouncing rhythms in the scherzo, their lovely tone in the andante or particularly their wonderfully ebullient finale (they sound massive) and I'm sure you'll agree. Stellar.

*Borodin (Teldec/Elatus 1993)* - definitely my favourite of their recordings. They sound more vital and like their enjoying this one more. Rhythms are sprung better, cohesion and inner dialogue are spritelier and although it doesn't have the thrilling finale of the Utrecht (but it's still a fine one) the Borodins score big points in the other 3 movements. Mobile, agile and a performance to make you smile.


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## HenryPenfold (Apr 29, 2018)

Merl said:


> Tchaikovsky's 2nd String Quartet was composed between December 1873 and January 1874 and premiered on 22 march 1874. Tchaikovsky in a corrspondence said of it, "I regard it as my best work; no other piece has poured forth from me so simply and easily. I wrote it almost at one sitting."
> The opening Adagio introduction is lyrical and poetic followed by the restless, Russian-sounding moderato assai. The coda ends the movenent softly. The following scherzo has a typical Russian rhythm and a sharp trio has a waltz motif for its theme. The 3rd movement, Andante ma non tanto, paints a scenic picture but is full of agitated harmonies and rhythms. The finale, Allegro Con moto, is lively, tuneful and rich, full of brio and with a triumphant air.
> 
> Recommended
> ...


In 1990 (?) I had some Naxos Tchaikovsky StQts, long lost. Now, I only have the Keller. Well crafted, but unidiomatic ('scuse the cliche). It's not urgent, but at some point I'm gonna be in the market for a more heart on the sleeve set......


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## Merl (Jul 28, 2016)

The Utrecht set is one I rate highly after listening to nearly all of them (I'm currently making my way through #3) but the newest Borodin cycle (1993) which appeared first on Teldec and later Elatus is emotionally lovely and self-recommending (and better than their two earlier cycles IMO as its a bit less unbuttoned). I've always liked the Keller set (it was the 2nd one I owned) but like the New Haydn (Naxos) it's all very, very well played and a little safe but lacks that more rustic, exciting 'wow' factor that I think you're referring to. I'm always aware that others find more vigorous styles OTT but like you said, sometimes you just want to be dragged off yer chair and kicked up the *rse or hear something that's totally unlike everyone else (Malx and I have had this discussion a few times). Safe can be fine but daring, when it works well, is unbeatable. If you like idiomatic then the Taneyev's might be an interesting choice. Hope you enjoyed the review, Henry.


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