Emerson String Quartet - The Haydn Project

Information

Composer: Joseph Haydn

CD1:

• (01-04) String Quartet No. 23 in F minor, Op. 20 No. 5
• (05-08) String Quartet No. 30 in E flat major, Op. 33 No. 2 - "Joke"
• (09-12) String Quartet No. 43 in G major, Op. 54 No. 1
• (13-16) String Quartet No. 53 in D major, Op. 64 No. 5 - "The Lark"

CD2:

• (01-04) String Quartet No. 59 in G minor, Op. 74 No. 3 - "The Rider"
• (05-08) String Quartet No. 61 in D minor, Op. 76 No. 2 - "Fifths"
• (09-12) String Quartet No. 66 in G major, Op. 77 No. 1

Bonus CD:

1. Mozart - String Quartet No. 14 in G major, K. 387: 4. Molto allegro
2. Shostakovich - Allegretto (Polka) for String Quartet
3. Dvorák - String Quartet No. 12 in F major, Op. 96 - "American": 2. Lento
4. Ives - String Quartet No. 2: 2. Arguments
5. Webern - 5 Movements for String Quartet, Op. 5: 4. Sehr langsam
6. Schubert - String Quartet No. 13 in A minor, D. 804 - "Rosamunde": 2. Andante
7. Bartók - String Quartet No. 4, Sz. 91: 4. Allegretto pizzicato
8. Beethoven - String Quartet in C major, Op. 59 No. 3 - "Rasumovsky No. 3": 4. Allegro molto

Emerson String Quartet
Eugene Drucker, violin
Philip Setzer, violin
Lawrence Dutton, viola
David Finckel, cello

Date: 2001
Label: Deutsche Grammophon
http://www.deutschegrammophon.com/en/cat/4713272

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Review

Thoughtful and often inspiring accounts of some of Haydn’s best­loved string quartets

Initially‚ I felt slightly irritated by the self­important title – The Haydn Project – given to this selection of comparatively familiar Haydn quartets. After listening for a while‚ however‚ it became clear that the title could be justified by the evidently deeply considered interpretations.

The Emersons don’t‚ as far as I can see‚ pay too much attention to historically informed performance practice. They don’t share the belief of Quantz and Leopold Mozart that a slur implies a diminuendo‚ and this can sometimes lead to their missing an important element of contrast and variety‚ for instance in the Minuet of the Lark Quartet (Op 64 No 5). It’s the minuets‚ indeed‚ that would benefit most from a more ‘authentic’ approach‚ from a lightening of tone between stressed beats so that the music has a real lilt – the Quatuor Mosaïques achieve this most beautifully in the Presto minuet of Op 77 No 1. Next to them the Emersons‚ despite their neatness and perfect integration‚ sound just a little tame. The squeezing of four quartets onto the first disc comes at the price of omitting the long second repeats in each of the first movements. The only ‘big’ repeat they make is on the opening Allegro of Op 76 No 2‚ enhancing the impact of this great piece; the five missing repeats (only Op 77 No 1 lacks this feature) would have each had a similar effect.

These quibbles aside‚ it’s a magnificent set. The Emersons’ collective brilliance and control help the famous moto perpetuo finale of Op 64 No 5 to sound irresistibly lively and poised. They make us appreciate every aspect of Haydn’s wit – sometimes admitting an element of the grotesque‚ in the last movement of Op 54 No 1‚ for example‚ but generally depending on excellent timing and an unexaggerated pointing of the surprises. The joke finale of Op 33 No 2 proceeds for most of its distance with gentle good humour‚ throwing into greater relief the amusing effect of the ever­lengthening silences in the final bars.

The players’ empathy for the music‚ moreover‚ shows in the way they latch on to the serious expressive character that lies behind the high spirits and virtuosity of Haydn’s style. The spacious account of the first Allegro of Op 74 No 3 gives equal weight to the powerful unison opening‚ the wistful theme that follows and the graceful‚ major­key second subject. The melancholic grandeur of the following Largo assai is equally well captured‚ the striking violin ornaments delivered with a wonderful air of spontaneity‚ and the celebrated tremolando passage imparting a real sense of a dark‚ romantic landscape. Other slow movements are equally fine – I’d single out especially the Adagio of Op 64 No 5‚ notable for its expressive warmth‚ and the sweet and elegant slow Siciliano in Op 20 No 5. The intimate clarity of the recorded sound suits such conversational music perfectly. An excellent introduction to Haydn’s mature quartets‚ then‚ and for those who know the music well‚ these thoughtful‚ imaginative readings will provide any number of inspiring insights.

-- Gramophone

More reviews:
ClassicsToday  ARTISTIC QUALITY: 10 / SOUND QUALITY: 10
http://www.musicweb-international.com/classrev/2001/Dec01/Haydn_project.htm
http://classicalsource.com/db_control/db_cd_review.php?id=446
http://www.amazon.com/Haydn-Project-Emerson-String-Quartet/dp/B00005OKSH

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Joseph Haydn (31 March 1732 – 31 May 1809) was a prominent and prolific Austrian composer of the Classical period. He was instrumental in the development of chamber music such as the piano trio and his contributions to musical form have earned him the epithets "Father of the Symphony" and "Father of the String Quartet". Haydn's work was central to the development of what came to be called sonata form. At the time of his death, aged 77, he was one of the most celebrated composers in Europe. Haydn was a friend and mentor of Mozart, a teacher of Beethoven, and the older brother of composer Michael Haydn.

https://en.wikipedia.org/wiki/Joseph_Haydn

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Emerson String Quartet is a professional string ensemble. Choosing American poet and philosopher Ralph Waldo Emerson as namesake, the Quartet was formed at the Juilliard School as a student ensemble and turned professional in 1976. When it was formed, the Emerson Quartet was one of the first with the two violinists alternating chairs. Its current members include: Eugene Drucker and Philip Setzer (violins), Lawrence Dutton (viola), and Paul Watkins (cello). As of May 2014, they have released more than thirty albums and won nine Grammy Awards, as well as the prestigious Avery Fisher Prize.
https://en.wikipedia.org/wiki/Emerson_String_Quartet

http://www.emersonquartet.com/

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