# Kodaly - String Quartet 2 Op.10 (SQ review)



## Merl (Jul 28, 2016)

Kodaly's String Quartet No.2 was composed during the First World War and completed in 1918. At the premiere critics were divided and some thought the music too simple, whilst others found it too complicated! Like the 1st Quartet, it makes heavy use of folk melodies but not in a traditional way. It's a two movement work, with each movement consisting of different sections.

The opening allegro is packed with woven melodies and plenty of clever dialogue between the instruments. The 2nd movement starts with a giddy violin solo. After a brief, more disjointed section, slowly the movement speeds up before blending into an allegro (sometimes this is cued up on disc as a 3rd movement). 

Kodaly's 2nd Quartet has an important place in Hungarian chamber music. It's moving toward the soundworld of Bartok without Bartok's more angular approaches. Kodály did not write a lot of chamber music but what he did write is really interesting (apart from the 1st quartet - see review). If you're not familiar with the 2nd quartet I hope you'll find lots of interest in the rich variety of interpretations outlined below. It's a fine piece and a shame that less than 20 accounts have been committed to disc. It deserves more. Here's what I feel are the strongest (but I'm sure others will disagree).

Btw, of those I'd not especially recommend are the Audubon quartet on Centaur with recessed violins, poor soundstage and shower block acoustic it's not a good listen. The Kontra give a decent performance but, as ever, BIS provides them with that awful bathtub acoustic (see also their Grieg, etc). With much better competition I can't recommend any of these. I'm also (contentiously) not a fan of the Hollywood Quartet's very old-fashion soundworld in this quartet (and the recording is pretty poor for the late 50s - where's the cello?) so that one doesn't feature.

*Recommended*

*Hungarian* (1952) - a lot of background rumble and noise but the recording is fairly clear and powerful. Ignoring the odd moment of iffy intonation the reading is full of life and gripping.
*Tatrai* - decent account spoiled by rather poor recorded sound for 1968.
Still plenty to recommend it, though, especially in the long lines and dialogue of the first movement.
*Emily Carr Quartet* - like the Kodalys (below) tempi are a little more relaxed but the close miking and slightly reverberant recording work well and the Emily Carr quartet show total conviction in this heartfelt recording.
*Guarneri* - the odd pitchy moment in one of their final recordings but there's a forcefulness and fulness of sound evident here that is rather rewarding.

*Heavily Recommended

Kodaly Quartet *- Earthy, very natural and rustic reading that is slightly broader in outlook but is a very rewarding listen. It captures the Hungarian essence of the music particularly well
*Melos* - vibrant late 70s recording with fine presence in the violins. Not as obviously Hungarian as others but you've got to admire the sheer panache with which the Melos play, even if the sound is a little dry and dated.
*Vegh (1951 Orfeo live)* - a much better recording than their horrid 1953 studio effort this is also a much more vibrant account. The Vegh's are especially wonderful and very brisk in the final Allegro. For a recording of its age this sounds surprisingly very good.

*Best picks (all superb for different reasons) 

Dante* - what a lovely, consistent performance! I love the way that the Dante let the music unfold and switch from volatile to luscious in the blink of an eye. Super sound only makes this a prime recommendation.

*Alexander* - strong and powerful reading with great use of dynamics. Exceptional articulation and great clarity in the bold cello lines, especially (although I'd have liked more prominence for pizzicato parts).

*Hagen* - with playing of undoubted quality and a brisk freshness, (the Hagen are rich in ensemble, are well caught by the DG engineers and play at a nice brisk clip. There's no doubting their technical acumen but some might miss the bucolic feel you get with some of the other recordings. This one really grew on me.

*Musikverein* - full-throated and involving, there's a classic richness to the Musikverein playing that I find particularly captivating. Tempi are well-judged and there's lot of depth and bloom to sound of this fine late 70s recording.


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