# Mozart - String Quartet 21 K575 (SQ review)



## Merl (Jul 28, 2016)

The D major Quartet, K. 575, is the first of the three Prussian quartets. The first movement opens gently with its rising arpeggios and falling scales. The background textures should be mesmerising here and the conversation relaxed and genial. The only interruptions being twice (the second one ends the movement). The 2nd movement, Andante, is even more serene with a slightly melancholy, beautiful, stately, singing melody. Again there's discrete conversation amongst the four voices, which eventually leads to the first violin and cello taking the lead. When the opening theme returns it's elaborated on beautifully by the violin and cello and finally this glorious movement comes to a close like a stunning Mozart aria.
The 3rd movement should be a bouncy Minuet, with its high melody full of testing gestures, and faux-melodrama. In the Trio section the Cello plays sweetly whilst being acknowledged by each instrument. The main melody returns to finish off this lovely minuet. The Finale is a different kettle of fish structurally and Mozart revisits the melody from the opening of the first movement but its changed and the conversation is different. Gone are the longer notes of the 1st movement and things speed up with a spinning tune played by the cello until it all gets moved around in a Rondo form with the melody continually appearing at different points and with different accompaniments. The coda at the end teases more of the same before Mozart begrudgingly says goodbye with two juicy, fat chords.

A couple of things that I feel detract from this quartet. Firstly, too much vibrato in the andante or rushing it can ruin an otherwise good performance but my real non-negotiable is playing the minuet too slowly. This happened in a few of the recordings (the Prague recording especially which meant its been omitted from the lists below). It really drags a performance down for me (it should be a real minuet NOT sound like an andante)! Anyway, there's a plethora of very, very high quality recordings so here's my very extended thoughts, below (this is a huge review so be warned)!

Here's a nice live performance from the Gewandhaus Quartett.





Egg and Spam

Talich
Wiener Konzerthaus (1960)
Guarneri (1965)
Orlando
Dimov
Franz Schubert
Petersen
Stradivari
Salomon
Bruckner Quartet
Chilingirian
Weller
Eder
Chiaroscuro
Doric
Juilliard (early 1950s)

*Spam, bacon, sausage, and Spam

Tokyo (2005)* - solid, strong and straightforward account which finds the Tokyo in good form.
*American String Quartet* - straight down the line recording in nice, detailed sound. The 2nd half really comes to life.
*Klenke* - like many of their performances this is again eminently elegant and poised in lovely sound. An easy recommendation.
*Schumann* - really well-conceived realisation where the intricacies of Mozart's writing is the focus for some intense cross-playing.
*Artaria* - sensitive, relaxed and well-balanced account that impresses in all four movements but the minuet has some delightful interpretive touches.
*Prazak* - this one edges in on the strength of the 2nd half (their finale is tour de force). Certainly a recording that gathers momentum. Clever atmosphere building.
*ABQ (EMI) *- a fine rendition that deserves its own place here (see ABQ Teldec below)
*Leipziger* - nice to hear a minuet played at a good pace. In fact the while performance is in the brisker side but it still sounds relaxed. More edge would have catapulted it higher.
*Kuijken* - what a shame that this performance feels a tad laboured in the 1st two movements as the minuet is a joy and there's wonderful ensemble playing in the finale.
*Engegard* - this is probably the quickest of their Prussians and although it doesn't come across as hurried it doesn't have the touches that made their other two Prussians so special. Still a damn fine reading and very enjoyable finale .
*Amadeus (1969)* - I love the Amadeus' raspy, pungent, characterful tone. The minuet works especially well in this beautifully played account.
*Festetics* - raspy, medium-paced, clearly detailed performance. Inner detail is clear and with better bass in the recording it would have been slightly higher.

*Spam, sausage, Spam, Spam, Spam, bacon, Spam, tomato, and Spam

Italiano* - can't go wrong with this 50 year old classic. Still leaves a lot of the opposition trailing in its dust. Tempi, intonation, ensemble and dynamics all done to perfection. That Andante is delicious.
*Budapest (1950s) *- remarkably poised and lithe account. The first violin is delicately balanced and perfectly complements the other 3 voices.
*Emerson* - expertly gauged rhythms, polished and there's a real presence to the slow movement that connected with me immediately.
*Armida* - a group who always sound like they're having fun. Their unique approach works so well here. I smiled throughout this recording.
*Skampa (Wigmore Live) *- earthy, brisk and very live-sounding, there's a natural flow to this fine account that had me returning to it. The rest of the disc is similarly a joy.
*ABQ (Teldec) *- although very similar in style and tempi to their EMI recording this just has that tiny bit more 'je ne sais quoi' that propels it into the big league. Special.
*Mosaiques* - I just love how they allow time for the Andante to breathe and how joyfully the minuet skips and dances. Probably my favourite of this ensemble's Prussian quartets.
*Amadeus (RIAS 1953) *- if the 1954 studio recording is good and the 1969 very good then this is the pick of the lot. Superb sound for its vintage but the Amadeus are spiker, quicker and more visceral here and this performance feels very live, enticingly direct and boisterous.

*Lobster Thermidor aux crevettes with a Mornay sauce, garnished with truffle pâté, brandy, and a fried egg on top, and Spam. 

Hagen* - with their unique phrasing and the way they dynamic contrasts no-one quite sounds like the Hagen who are a total joy here and turn in an absolutely stunning minuet. Check out the cross-rhythms in that finale too.

*Alexander* - another killer performance from the Alexander who find the inner voices impeccably in an absolutely first-class acoustic. Their 2nd and 4th movements are sensational.

*Suske (1974) *- among the finest of the Suske's superb later Mozart this is a recording that has a rhythmic bouyancy that's hard to match. Unmatched in the finale.

*Lotus* - twinned with an impressive K589 the Lotus players are quick, forthright and smash this one out of the ballpark. Delicious phrasing, superb articulation and gloriously, string rhythms make this an essential. If you can still find this on Warner Apex at bargain price then grab it.


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