Haydn's String Quartet No. 5 in D major is best known for its wonderful
second movement Largo.  The first movement, Allegretto-Allegro, is the
shortest first movement of the Opus 76 set.  It has sonata form elements
but isn't really in sonata form.  It's more of an A-B-A-Coda structure, and
I tend to view the movement as series of variations which starts out in
Allegretto tempo, moves on to the Allegro in the minor key, switches back
to Allegretto, then ends with a long and vigorous coda.  This is highly
agreeable music, but I don't consider it to have particularly memorable
themes.  It just might be best to consider the first movement as an
introduction to the second movement Largo.

Of the five versions, The Tokyo and Kuijken Quartets are problematic.  With
the Tokyo, the first violin is dominant and sounds a little sour.  With the
Kuijken, the tempo is too fast and the reading is perfunctory.  Although on
period instruments, it would be easy to not realize that at all; projection
is ordinary.  Listen to the Mosaiques, and you will likely notice the
greater snap of their period instruments.  Along with the Mosaiques, the
Lindsays and the Tatrai Quartet perform very well.

The second movement, Largo; Cantabile e mesto, is considered the heart of
the D major Quartet.  In the key of F sharp major, the music is quite sad
with a singing quality.  However, there is an element of sunshine that
consistently radiates throughout the movement and provides the contrast
that keeps the music interesting.  Without this contrast being projected
well, the music can seem to drone on with an element of self-pity.

The Mosaiques Quartet is excellent.  Their pacing is fine, projection is
strong, and the music never drags or becomes melancholy.  Most important,
they capture all the beauty of Haydn's creation.  The Kuijken are less
sharp and projected than the Mosaiques; they display less energy as well.
It's a good performance, but a little staid.  The Tokyo, Lindsays, and
Tatrai adopt much slower tempos than the period instrument versions.  I do
prefer the faster speeds, but the Tokyo are strong in their projection and
always interesting; they are an improvement on the Kuijken.  The Lindsays
don't project as well, and their performance drags a little as a result.
I find that the Tatrai drag from beginning to end.

I might as well admit that I do not like the Largo as much as most Haydn
fans.  "Zest and life" in addition to the music's beauty are the features
that I find appealing.  The Mosaiques give these elements to me in full
measure.

The third movement is a thoroughly happy and rustic Menuet which frames
a rumbling trio in D minor where the clouds are collecting.  The Lindsays
provide a very agreeable menuet and dark trio, but the Tokyo reading shows
what is lacking in the Lindsays.  The Tokyo are also agreeable but offer
a fine element of excitement through better accenting, projection, and
angularity.  Their trio is not only dark, it possesses strong urgency;
the Lindsays are very low on urgency.

The Kuijken String Quartet and The Tatrai Quartet are also an improvement
on the Lindsays.  They have better accenting, excitement, and dark trios of
mystery.  The Lindsays don't provide much mystery either.  The Mosaiques
Quartet is on the level of the Lindsays; little excitement, mystery, or
urgency.  Overall, I like the Tokyo Quartet's performance best.

The fourth movement is a Presto of great energy and lust for life which
requires much virtuosity from each performer.  The Tatrai easily fulfill
all requirements with a whirling level of energy; they sound like they must
have had much fun performing the piece.  The Kuijken Quartet is slower than
the Tatrai with a resulting loss in energy flow and depth of love of life.
The Tokyo String Quartet is no faster than the Kuijken, but they are much
more exciting with stronger and more exuberant projection.  They are close
to the level of the Tatrai Quartet.

The Mosaiques Quartet race like the wind, but don't match the excitement of
the Tatrai or Tokyo; they are better than the Kuijken Quartet.  Again, the
Lindsays do not inspire me with their soft attacks and focus.

The Mosaiques, Tokyo, and Tatrai Quartets give very good performances of
the D major Quartet.  Neither the Kiujken Quartet nor the Lindsays have
much to offer.  I am becoming increasingly disenchated with both groups.
The Kuijken are consistenty low on energy and spirit; the Lindsays
consistently lack sufficient strength.

Don Satz
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