# Wolf - String Quartet in D Minor (SQ review)



## Merl (Jul 28, 2016)

Wolf was a representative of the so-called New German School which adhered to the use of the chromaticism and other innovations from Wagner. He was not a fan of Brahms et al and is best known for his much-played Italian Serenade.

Ive always liked the lengthy 1st and 3rd movements in this work. The opening Grave movement is really powerful and dramatic whilst the 3rd (?) movement, Langsam, is fascinating starting with a very Beethovian theme before it veers off wildly in different directions (at times reminding me somewhat of Schubert's DATM). The small scherzo separating these two huge movements is happily much lighter and jovial. I've had the LaSalle recording (coupled with the Brahms quartets) for years but I've never been totally happy with it, tbh, and I can't remember the last time I ayed it. With music this muscular I've always wanted more bite, better dynamics and a better recorded sound. This is particularly true of the finale, which sounds as though it almost doesn't fit in the LaSalle recording. However, I do recall reading that Wolf had always been deeply dissatisfied with his original finale and wrote this replacement many years later when his style and ideas had completely changed. This will be a great chance to hopefully hear (and buy) a recording I'm more satisfied with. Safe to say the LaSalle recording won't be on my final list (it's not bad just lacks any intensity - they sound bored, to me).

Incidentally a word about the order of movements - Apparently the original score of the quartet had the langsam 2nd and the scherzo 3rd but it's rumoured that Wolf switched them later because it unbalanced the quartet and if that is true then I agree who heartedly. There's also a funny story about the premiere. He'd chosen the famous Rosé Quartet to premiere his quartet but he'd just launched a few savage attacks on Brahms in the press (he hated Brahm's music apparently) and the quartet weren't happy that he'd dissed a man they respected. Apparently they took one look at the score, trashed it, refused to play it and told Wolf to collect it from the porter at the Opera House before it was binned. A few recordings to go at...
Btw, the only recording I was unable to properly hear was my old 1967 Keller Quartet (charity shop find) LP. I did dig my turntable out of retirement to give it a spin but its so scratched and horrid I gave up partway through (and threw the offending disc in the recycling bin). From what I could tell between what sounded like chips frying is that it would not supplant the top versions here anyway. Btw, I've left my LaSalle recording out as I'm not recommending it. I've had it years but it's never floated my boat and isnt on the level of the other recordings below, for me. Harsh, I know. It's a strange quartet. I like its weird mix of styles and late romantic sound but agree that it does slightly outstay its welcome. It is a disjointed piece. OK....

*Easily Recommended

Artis* - they loving craft the two big movements with poetic playing but don't often bring the wildness to the party that this music deserves. Still easy to like.
*Wihan* - the distinctly slavic tone is interesting and very nice but the Wihan don't push hard enough in the big moments for me (especially the finale).
*Hugo Wolf Quartet* - they certainly play with commitment and this is a very decent recording but I'm not sure they give it the gravitas of the very finest recordings.
*New Music Quartet *- remastered for Pristine Classics this mono 1953 recording sounds surprisingly beefy, clear and impressive for its age. They are also much brisker and braver than many others in this piece. This is a fine, intense account.

*Better* 

*Auryn* - beautifully balanced and expressive playing. The Auryns manage the long lines of the Langsam particularly skilfully but more snarl and urgency would have put it at the top.

*Top Pick

Prometeo* - warm but dramatic reading too. The sound on this Brilliant Classics disc is vibrant and clear and the whole piece works splendidly. I just ordered it.
*Fine Arts *- this Hannsler recording captures the modern Fine Arts in a lovely acoustic and with the right measure of Beethovian rigour. The reversal in the middle order movements is a bit annoying for me but easily sorted when cueing up. Some excellent hairpin changes of dynamic. It may be the broadest account but it doesn't seem so.


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