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]