# Mendelssohn - String Quintet 1 op.18 (review)



## Merl (Jul 28, 2016)

Mendelssohn's 1st String Quintet was written in 1826, shortly after the completion of the String Octet, when he was just seventeen years old. 6 years later, and dissatisfied with the original minuet second movement, he substituted a slow movement composed in memory of his friend, the violinist Eduard Rietz. The revised version of the quintet was published in Bonn the same year.
The opening movement, Allegro con moto, is in sonata form and is reniniscent of Mozart. With it's rhythmic theme, introduced by the cello, Mendelssohn cleverly develops this theme with some interesting interruptions,as the movement builds a head of steam, without ever getting too disorderly.
The newer 2nd movement Intermezzo, andante sostenuto, is dedicated to Rietz, is warmly nostalgic rather than melancholy and features the violin more extensively (due to Rietz's influence). This is a personal outpouring of music that avoids being too melancholy and maudlin.
The short, 3rd movement, allegro di molto, is as Mendelssohnian as you can get, beginning fugally, as each instrument gets its chance with counterpoint being developed carefully. Textures are important here as Mendelssohn uses pizzicato, dynamics and harmonic shifts skillfully in this light, jolly, skipping scherzo. The finale is lively and has a clear sense of direction, its lines decorated with curlicues and bright textures. The first theme skips along, while the second is a tuneful melody extended by the violin. In the development section, Mendelssohn again uses a fugal technique with bold entrances in the five instruments. But the result is far from formal: in fact, the movement feels quite free, an embrace of all he had learned and already made his own.






Impressive

Hausmusik
Heutling-Quartett/Graf
Fine Arts/Rossi
Harrington/Dunham
Matangi/Moergastel
Sharon/Vahle

*Very Impressive

Mendelssohn/Mann *- the BIS recording is bassier and more powerful but some of the inner detail isn't revealed as much as those in the high two lists 
*L'Archibudelli* - much as I love this ensemble's raspier and more wiry HIP tone, and admire their incredibly fluid and perfect playing, it's not at the very top for one reason - a too slow 3rd movement. If you can cope with that then this might be your top pick.
*Mannheimer/Kaliunaite* - probably their most expressive and vibrant performance (and they've had some fine ones over the years). No standout movements just a reading of consistent beauty, strength and intensity.
*Henschel/Glassl* - could have been higher but their briskness works for and against them, eventually, perhaps clouding some finer detail.
*Berliner Streichquintett* - very classy, polished, symphonic and smooth. Exactly what you'd expect from these outstanding musicians steeped in more old-fashioned techniques but make no bones this is quite lovely.
*Zemlinsky/Kluson* - for all its power and intensity the close, bright Praga recording highlights a few of the Zemlinsky's rougher edges a little too much.

*Special

Bartholdy Quintett *- blisteringly quick release but I love that tangibly edgy sound they produce and their opening movement is done better than many. This could move up the list. Love it.
*Leipziger/Buntrock *- I read a rather negative review of this from the Guardian. Obviously the reviewer never listened to recording as this is a beauty. Incredible levels of detail and all done intricately with lots of style and charm. I sometimes wonder if some reviewers actually listen to recording or just rely on their petty biases. Buy with confidence. *
Viotti/Causse *- a stunningly virtuosic recording made all the better by Gérard Caussé's sensitively characterful phrasing and the Viotti raising their game accordingly. Their first two movements are arresting.
*St John et al ([email protected]) -* members of the Pacifica and St. Lawrence quartets are captivating and boisterous on this hugely enjoyable effort. Some of these [email protected] recordings are becoming firm favourites. Deafening applause and whoops end the performance (which may put some off).
*Raphael Ensemble* - sometimes guilty of being a little too polite in other recordings the Raphael are massively at home in this Quintet, put their big-boy pants on and unleash a stellar, stylish, memorable account. If you like the Nash Ensemble's best recording this is up there with them. The Hyperion sound is hugely admirable.

*Top Picks

Mandelring/Teuffel *- the Mandelring's8 Mendelssohn SQ cycle was superb and this is even more convincing. Balances are beautiful, ensemble is immaculate, accenting is persuasive and the recorded sound is admirable. Impossible to fault and the finale is buoyant and absolutely riveting.

*Laredo et al (Music from Marlboro)* - now over 40 years old this (unsurprisingly) slightly more violin-dominated performance is still as alive and captivating as it was when I first heard it. I once spoke to a guy who saw this live and said it was the greatest live chamber performance he'd ever heard. I might not wholly agree but I can understand his train of thought.

*Doric/Ridout *- sometimes some Doric quartet recordings can be a little overly nuanced or fussy but they are utterly angelic here and play classily, aided brilliantly by virtuoso violist Timothy Ridout. Sound and acoustic are stunning and, like the Mandelring, they are propulsive in the finale (some may think a bit heavily so but not me).


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