# Mozart - String Quartet 17 'The Hunt' K458 (SQ review)



## Merl (Jul 28, 2016)

Mozart's String Quartet in B-flat Major, K. 458 was the 4th quartet in the series of quartets dedicated to Haydn. Along with SQ10 (Dissonances) the "Hunt" is the most popular of the Haydn quartets. Its nickname (it wasn't Mozart's idea, btw) refers to the initial theme of the 1st movement that apes the sound of a hunting call. Here the violins sound like a pair of hunting horns. This motif immediately catches the ear (and that of many TV and film producers who have used it). The 2nd theme with its simple five-note trill (its characteristic "shake") dominates the rest of the movement, where it is skilfully developed in one of Mozart's most brilliant movements with its glorious coda, denoted by a halt and tremulous shake.
The 2nd movement moderato is an elegant minuet with a particularly fine, rhythmically buoyant trio before it returns to the main theme. Mozart's 3rd movement adagio is beautiful (one of his finest SQ slow movements, IMO), gentle and intense with some lovely longer pauses, creating a fragility that the best ensembles and recordings can take advantage of with those exposed cello lines and the first violin floating over the top. The finale and it's initial theme friskily (too slow kills this one) returns us to the opening hunting horns motif again and there's a real feeling of a chase and a childlike merriment, with the second theme offering another call and response horn call. The movement speeds to a bustling, giddy finish with its lively recurring refrains. 
The Hunt was the first Mozart quartet I ever heard (and owned) and remains a firm favourite even though it's considered by some to be a warhorse of the genre. I think I imprinted on the Melos recording, initially, but that has never flowered my judgement and there have been many excellent recordings since. In fact, due to the huge number of recordings (there are close to 100) I will be as selective as possible here but be warned this could be a long one due to the excellent quality of these performances and I won't shirk on mentioning the better ones, no matter how rare. Incidentally, I do like ensembles that do something 'different' with the Hunt, especially in the 1st and 2nd movements and play at a good tempo in the outer movements so the Auryn's slowwww, lifeless performance rules it right out and the Mosaiques are too slow in the first movement (terrific elsewhere) so they can join them! This is a quartet that used to be be played very briskly (listen to the likes of the Pascal, Budapest, Hungarian, Hollywood, etc and you'll hear how quick this used to me played, historically). Nuance is certainly not a bad thing here as the thematic material is so playful (another reason to throw the straight-laced Auryn out). As usual mere recommendations won't get a mention and its only the creme de la creme that will be cited below. Incidentally hardly anyone totally messes this quartet up so if your fave is not on the list below just take it as a general recommendation (unless it was recorded in a mineshat or under a mattress / next to a frying pan before 1950 or is the Auryn recording).

Here's the Hagen Quartet in a fine performance from the 1990s.







Dog Eat Dog

Amadeus (1963)
Fine Arts (WFMT)
Artis
Lindsays (ASV)
Vlach (1965)
Juilliard (1974)
Orford
Hollywood (1957 live)
Prague
Alexander
Petersen
ABQ (EMI)
Cambini-Paris
Takacs
Lindsay (CFP)
Leipziger

*Hot Dog

Italiano 72 *- easily recommendable with strong ensemble and majestic interplay. A little more immediacy would have put it higher. The best of their 4 recordings available but the BBC live recording, on ICA, from 1965 is rather good too, and brisker.
*Suske* - the same inexplicable flow that's in their other Mozart pervades this authorative and attractive traversal. This just sounds 'right'.
*Melos* - my first recording of this quartet and it still sounds impressive even with the heavy competition. Lively, brisk and with a joviality that is quite endearing. The minuet is handled really cleverly.
*Klenke* - inner movements really impress me here. Lots of forward momentum in outer movements but not especially brisk. Usual admirable Profil sound.
*Jess Quartet Wien *- I've been pleasantly surprised by this live set and this bustling, energetic and peppy Hunt may not be the best played but is so much fun and at a good clip.
*Engegard* - very brisk and exciting recording. This has a vitality that others can't match and is especially racey in the outer movements. Feels a smidgeon rushed in the inner movements.
*ABQ (Teldec)* - controlled, elegant and stylish account and the analogue sound stands up really well. Perfect for those wanting a lighter, more stately but gorgeously played approach. Classy.
*Kuijken* - raspy sound of the Kuijken is a delight here even if they are a little spacious, especially in the opening and closing movements. Glorious cello sound and well nuanced.
*Bartok* - so engaging and lively. The recording is a bit up front but the brisker delivery is a delight. An ensemble obviously enjoying themselves, as much as I did.
*Barchet* - a speedy and highly rewarding effort from the Barchet's eldely Vox set. The best of Barchet's Mozart and it could climb higher.

*Deputy Dawg

Prazak* - pulsating, big-boned and not for the faint-hearted. The whole performance throbs remorselessly and the Praga recording is ideal, with great bass definition.
*Jerusalem* - another that oozes class. The recorded sound is muscular and opaque and there's no doubting the absolute mastery of intonation. One of the longer recordings here but it doesn't feel slow or laboured.
*Emerson* - I'd neglected the Emerson Haydn Quartets set before (due to fears of DG's usual bad engineering for this ensemble) however these are very impressive recordings and this Hunt is one of the finest I've heard. Stunning playing.
*Armida* - the relaxed tempo of the first movement disguise a performance where dynamic contrasts and minimum vibrato are used very effectively. There's a few clipped phrases but it's got a lovely snap.
*Smetana (Denon 1982)* - listen to their control of tempi and especially the colours and textures the famous Smetana create. Special ensemble playing (love that finale).
*Juilliard (1962)* - again, whilst their remake is very good (see above) this is way more special. Vibrant and meticulously played with a bouyancy that feels totally natural. A historical gem.
*Hagen (1998 / 2019) *- the Hagen's first account for DG is witty, deep, resplendent and beautifully recorded. The same wit permeates their more relaxed update from 20 years later, on Myrios, which is in utterly majestic recorded sound and possibly trumps the earlier one. Either way, both are sensational efforts and which one you prefer may will be a matter of minor details. The andante of the Myrios recording is very special.

*Top Dog

Casals* - Totally involving and occasionally stinging so you feel like the music is brand new (not the warhorse we know) and it's in super sound. The outer movements are both wonderful, and they don't hang around, but it's the finale that's the real killer. When the Casals shift gear (and even when they dont) they tick every box in my 'Perfect Hunt' survey. Pulsating, bracing, beautiful and brilliantly gripping Mozart.


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## Kreisler jr (Apr 21, 2021)

There is a great one from the Musikverein/Küchl Quartet that has been reissued on Australian eloquence (with K 428, 464, 465) or an older Decca (465, 590) that is a bit like ABQ on speed and in probably better sound. They probably re-recorded some of this in the 1990s for the Japanese label Platz but these recording suffer IMO from too much reverb (the 1970s Deccas do not).


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## Merl (Jul 28, 2016)

Kreisler jr said:


> There is a great one from the Musikverein/Küchl Quartet that has been reissued on Australian eloquence (with K 428, 464, 465) or an older Decca (465, 590) that is a bit like ABQ on speed and in probably better sound. They probably re-recorded some of this in the 1990s for the Japanese label Platz but these recording suffer IMO from too much reverb (the 1970s Deccas do not).


I know of it (and it's good reputation) but I've never heard it, believe it or not, Kreisler. It was one of a couple of recordings I never got to hear. When I do get a chance I'm sure it could end up in the list above. I couldnt even get a listen via YouTube. Annoying! If you see a link to it online seelnd me a pm and I'll listen ASAP.


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