Haydn's Opus 76 String Quartet No. 6 in E flat major might well be the
most experimental quartet of Opus 76, largely abetted by being essentially
mono-thematic in each movement.  The first movement, an Allegretto in 2/4
time, consists of an initial theme with four variations.  The first three
variations involve a mixture of contrapuntal and emotive contrasts; the
last variation is an Allegro of great exuberance with fugal properties.
Overall, the movement is one of affable character and comfort, although
that last variation can represent a wake-up call.  Also, the last variation
is more than one of four; in tempo and character, it is the distinctive
variation.  I imagine Haydn telling himself that it's time to cut the
demure stuff and kick up some dust.

The Tatrai Quartet does very well until the fourth variation.  It is much
too smooth and soft; the fugal properties are subdued.  The Kuijken start
out much too emphatic, but they do calm down as the first theme progresses.
Their first three variations are exceptional with outstanding voice detail.
It's their last variation which really makes the Kuijken performance a
special and exceptional one.  The fugal properties sound wonderful and
incisive; they make the Tatrai's impact sound like mush.

The Tokyo String Quartet chops a minute off the timings of the Kiujken and
Tatrai; that's fine with me.  The first violin occasionally sounds rather
sour.  The Tokyo Quartet is more emphatic than the Tatrai and somewhat
nervous in character; that's fine with me also.  Their last variation
handles the fugue characteristics excellently.  I pick the Tokyo over the
Tatrai mainly based on the fourth variation.

The Mosaiques Quartet and the Lindsays are the two slower versions of the
five.  I don't feel it works well for the Mosaiques; their first variation
feels too slow, they are sometimes ridiculously emphatic, and surprisingly,
it's now the Kuijken which display a passion for life.  Their fourth
variation being nothing special, the Mosaiques Quartet is less rewarding
than the Tatrai.  The Lindsays are very comforting in the initial theme
and first variation.  Their second and third variations are deliciously
emphatic and alternately tender.  The fourth variation is not particularly
good; the fugal elements are downplayed and the strength of projection is
low.  The Lindsays match the Tatrai.

The second movement, Fantasia; Adagio, is an unusual adagio in that the
basic theme in B major is subjected to a series of five modulations to
other major keys before returning to B major.  The basic theme is solemn to
the point of sounding hymn-like; a challenge performers face is to insure
that this theme, which keeps returning, does not induce a feeling in the
listener that the movement will never end.  That's where the very slow
Lindsays are until the last modulation is over.  At that point, they take
on a new life and give me a fantastic and counterpoint driven second
section.  In this movement, the Lindsays are like two totally different
quartets.  What they have going for them is that they take the magical
section of the Adagio and deliver it superbly.

The Tatrai Quartet is less slow than the Lindsays and more animated in
the basic theme.  However, they are ordinary once the modulations are over
compared to the Lindsays.  The Tokyo's animation is more pronounced than
the Tatrai, but the Tokyo have a major problem in my opinion.  The first
violin is much too sweet; I cringe at times.  The sweetness really puts the
damper on an otherwise excellent performance.  The Tokyo are more rewarding
than the Tatrai but have to yield to the Lindsays.

What I'm looking for at this point is a version of the second section
which matches or exceeds the superb Lindsay reading and also provides more
animation to the basic theme.  The Mosaiques and the Kuijken Quartets are
my last hope.  The Mosaiques answer the call splendidly.  They convey a
fine blend of solemnity and animation in the basic theme and are just as
inspirational in the second section as the Lindsays.  Unfortunately, the
Kuijken return to their usually somber ways with a performance that drags
a little.  They are at the Tatrai's level.  This second movement is my
favorite in the set; that's big points for the Mosaiques Quartet.

The third movement, Menuetto(Presto), consists of a minuet followed by an
innovative trio with ascending and descending scales in an iambic pattern;
the trio is contrapuntal in the manner of a fugue.  The Mosaiques Quartet
is very quick, emphatic, and exuberant in the minuet, while the Kuijken
String Quartet is slower, smoother, and with an element of nobility (hardly
presto).  The Tatrai takes us back to the tempo of the Mosaiques, but the
trio is much more distinctive in the hands of the Mosaiques and Kuijken.
With the Lindsays, both the minuet and trio are softly played and not
projected well, a condition which has consistently plagued the Lindsays in
this set.  Volume and projection are high in the Tokyo String Quartet's
performance which is quite exciting.  I favor the Tokyo closely followed
by the Mosaiques and Kuijken.

The fourth movement, Allegro spirituoso, is also monothematic and in 3/4
time.  The music's foundation is rhythmic energy largely provided by the
basic theme's opening three-quaver upbeat set against the accompanying
chords which vary throughout the movement.

The Tokyo String Quartet is excellent with projection and energy flow;
the performance is an exciting one.  The Tatrai Quartet is faster than
the Tokyo but smoother and not as rhythmically alert.  The Kuijken String
Quartet provides a relatively relaxed performance initially, but they soon
become more energized.  Their accenting and poetry are wonderful, there's
strong momentum of a subtle nature, and these factors put them ahead of the
Tokyo.  The Mosaiques Quartet delivers more energy than the other versions,
but I prefer the more poetic ways of the Kuijken.  Once again, the
Lindsays, although quick, are very soft-spoken.  Their version fits in
better with soothing sounds at bedtime rather than providing the thrust
of a new day.

For the E flat major, I prefer either the Kuijken or Mosaiques Quartets.
The Lindsays, aside from the second movement, don't have much to offer.
The Tatrai Quartet is not sufficiently alert throughout the work.

Summaries for Opus 76:

I consider the Tokyo and Mosaiques Quartets the best of the five versions.
The Tokyo String Quartet's major strength is projection; they are always
diving into the music.  If the set has a failing, it's that the first
violin is sometimes too sweet, rather sour, and set far apart from the
other instruments.  The Mosaiques also display great energy.  They are not
mainstream readings.  Risks are taken, and occasionally I do not agree with
the direction taken.  Still, it's a highly rewarding set, and the magical
second movement of the E flat major Quartet is reason enough to want the
recordings.

The Kuijken and Tatrai String Quartets are at the next level.  They are
certainly competitive but possess some problems of significance.  The
Tatrai tend to be too soft-focused and lacking some energy and altertness.
The Kuijken are often rather somber and do not provide the full advantages
of using period instruments; for that impact, just go to the Mosaiques
Quartet.

The Lindsays give the least rewarding performances and are not
recommended.  I could debate all day with others concerning many
particulars of the readings.  Leaving aside those factors, I feel that two
aspects, in combination, kill this set.  One is that the recorded volume
level is very low; the other is the Lindsay's soft projection.  Put those
factors together, and the results are not good.  I want to emphasize that
most reviews I have read consider the Lindsays' set to be one of the best
ever recorded.  My views are obviously in the minority, but I know low
projection and recorded sound when I hear it.

One of my soon-to-come reviews will be of Bach's Sonatas for Violin and
Harpsichord on period instruments.  When my order for the Podger/van
Asperen set on Channel Classics arrives, I'll have fourteen versions for
comparison.  I've been listening lately in the car to Biondi's set on Opus
111, and I just wanted to relate the great feelings I get from Bach's solo
harpsichord movement in the Sonata in G major; it's music from a supreme
mind.

Don Satz
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