String Quartet No. 2 in D minor - This Quartet is often referred to as
"The Fifths" because of the prominence of the fifth interval in the first
movement; it also appears in later movements.  The first movement Allegro
begins with two bars of descending fifths; the fifths motif dominates
throughout the movement and is subjected to inversion, stretto, and
diminution.  This is a monothematic movement with a second subject that
never gets firmly situated.  Concerning the moods of the music, they range
from playful to dramatic and very serious.  At all times, the movmement
needs to be energized and lively.

The Tatrai are highly lyrical in the first movement, but the level of
excitement and momentum are rather low.  The Lindsays are very lively,
animated, and dramatic while retaining a high degree of lyricism.  The
Kuijken String Quartet is relatively slow and dignified; there is a
sacrifice to excitement and momentum, but the Kuijken manage to exhibit a
higher energy level than the Tatrai.  It is a very attractive and lovely
reading that must yield to the Lindsays who have more to offer.  Much the
same can be said for the performance from the Mosaiques which is sharper
than the Kuijken, although it has a few affectations.  The Tokyo String
Quartet has the fastest tempo; it's an exciting version with a significant
loss in tonal beauty.

My favorite first movement has to be the Lindsays; they have excitement and
tonal beauty to spare, and the drama and life they bring to the music is
superb.  The Mosaiques and Kuijken are fine performances which just don't
possess the drama and liveliness of the Lindsays.  The Tokyo version is not
very attractive, but their excitement quotient is ample.  Occuping the
bottom is the Tatrai Quartet with a relatively low-key performance.

The second movement, Andante o piu tosto Allegretto, is elegant, intimate,
and calming music in ternary form with dance-like characteristics of a
minuet.  There is a variation quality to the first theme in D major, and
the short central theme, taken from the first theme, has a low level of
agitation for contrast.  The first theme is probably one of Haydn's most
well-known melodies, although I can't say it is one of my favorite Haydn
melodies.

I have been indicating that I find the Tatrai Quartet to be too subdued in
those Haydn movements requiring excitement and speed.  This problem does
not apply to the Andante of the D minor Quartet which needs to be played
elegantly and with a lilting dance style.  So the Tatrai perform this
movement excellently with ample elegance; I close my eyes and easily
picture a stately dance hall with well-dressed occupants going their paces.
Theirs is a lovely and idiomatic "mainstream" performance in the best sense
with no attempt to take chances or deviate from established performing
practice.

The Lindsays don't seem to give much importance to the dance-like nature of
the movement; I can't imagine many folks wanting to dance to their reading.
They are more animated than the Tatrai, but I don't feel that has anything
to do with the music.  Overall, the Lindsays give a nice performance which
I think "misses the boat" with a low degree of elegance and stately dance
themes.

The Mosaiques and Kuijken Quartets are significantly slower than the Tatrai
and the quick paced Lindsays.  It's a very nice slow pace fine for dancing,
and both groups present it well.  They also possess a excellent level of
projection.  All the same, I'd rather listen to the Tatrai's more
moderately paced reading which I prefer for dancing imagery.

Although a little slower than the Tatrai, The Tokyo String Quartet bring
the same stately dance-like qualities to the music.  Both versions are
highly pleasureable.

The third movement, Menuet: Allegro ma non troppo, is a minuet and trio.
The piece is often referred to as the "Witch's Minuet".  The minuet has
an infectious swagger, and I imagine a witch at her caldron mixing her
poisonous brew to a diabolical dance rhythm.  The trio continues the basic
moods of the minuet.

The Kuijken Quartet is very good in the minuet, but the first violin does
not soar at all in the trio.  The Lindsays provide a fantastic minuet;
it has more power and ominous qualities than the Kuijken, and there is
an inexorable aura about it.  The Mosaiques do well in the minuet with
a swagger a little less convincing than the Kuijken Quartet.  Projection
of the first violin is very good in the trio; this raises the Mosaiques
performance to the level of the Kuijken.  The Tokyo and Tatrai Quartets are
suitably diabolical in the minuet with good projection of the first violin
in the trio.  Overall, the third movement belongs to the Lindsays simply
because of their magical minuet.

The fouth movement of the D minor Quartet, Vivace assai, is in sonata form.
The movement begins in D minor and ends in D major and has some very bold
string effects.  The first theme reminds me of a muscular rural scene; the
second theme, in F major, has wide leaps dominating the proceedings.  This
is one of the shorter fourth movements of the Opus 76 set and does not
outstay its welcome in the least.  For me, this movement is all about
excitement/urgency, forward momentum, and muscularity.

The Kuijken String Quartet is the slowest version, and I feel the tempo
is a hindrance to excitement and momentum; however, their performance has
plenty of muscle and urgency.  The Mosaiques and Tatrai Quartets give very
good readings.  The Tokyo String Quartet is just that much more urgent and
exciting than the above mentioned.  But it's the Lindsays who really shine
in this music; the excitement they bring to the movement is outstanding; I
find it hard to remain sitting.

To my mind, the Lindsays are so much better in the D minor than G major
Quartet.  They stop trying to be different and simply play superbly and
idiomatically.  Given their deficient G major performance, the Lindsays
aren't currently the best version, but they are not far behind.  The Tokyo
and Kuijken are doing the best, although the Kuijken fell significantly in
the D minor Quartet.  Only the Tatrai Quartet is looking far up at the
other four versions; their "punch" is not close to the level of the others.

Don Satz
[log in to unmask]