Edvard Grieg

String Quartets nos. 1 in G minor, op. 27 and 2 in F major

Chilingirian Quartet (Levon Chilingirian, Charles Sewart, violins; Asdis
Valdimarsdottir viola; Philip de Groote, cello)
Hyperion
Recording: December 8-10 1998 in St. George's, Brandon Hill, Bristol/UK

Musical quality: 9 - Sonic quality: 9

This disc is quite a rarity, as it features the premiere recording of
the two last movements of the unfinished F major quartet in a performing
edition by Levon Chilingirian.  More about that at the appropriate place.

The g minor quartet begins aptly very energetically.  As soon as the first
subject it becomes clear that this quartet is quite wonderful.  The clarity
with which the interplay between the first violin and the viola emerges is
stunning.  The second subject doesn't lack contrast, even if it's the quick
quavers at the end of phrases that catch most attention.  Then tension
builds nicely throughout the development and the cantilena of cello near
the end of the development is beautiful yet sad, it seems as if the music
has to fight very hard to get its energy back for the recapitulation.
The singing line of the cello at the end of the Coda is wonderfully
otherworldly.  The structure of this movement is clearly outlined.  The
Romanze sets out in a completely different mood.  What had been tense
and almost harsh in the first movement now is very warm and laid-back.
Especially the cello's new tone is astonishing.  However, the sense of
momentum is always kept, it never drags.  The Allegro agitato middle parts
are as bizarre as one could wish.  These four musicians surely aren't shy
of juxtaposing most lyrical with fierce passages.  This makes for quite a
baffling effect.  They display the odd, torn structure of the movement very
well.  The Intermezzo again proves that there is plenty of contrast in
Grieg's writing.  There is an odd passage in the Trio, which has to be a
textural change made by Levon Chilingirian.  Otherwise it would indicate
some horribly sloppy playing, which isn't present anywhere else on this
disc.  This is no major matter in any case.  The finale's introduction
could do with more tension.  Here is just not even spookiness.
Nonetheless, the beginning of the Saltarello is as exciting as one could
wish.  There is impetus in abundance.  They don't seem to be too happy with
the strange structure of the movement, though.  It seems as if they're a
little confused too.  Only at the end, the two concluding statements of the
motto-theme are very satisfying again.  The change from the minor to the
major key has worked very well indeed.

The F major quartet wasn't finished by Grieg for some reason.  However,
Levon Chilingirian revised the first two movements and made a performing
edition of the last two in 1996.  This is the version recorded here.
Frankly, the changes made in the first two movements don't justify the
acquisition of this disc, there is hardly a major change.  However, is
the inclusion of the two final movements important? Yes, I think so!

The Chilingirians begin the first movement with less excitement and
power than one would hope for.  However, the transition into the main
movement is excellent, the pace kept.  Throughout the exposition there
is a pronounced lack of drama.  This interpretation seems to focus on the
lyrical side of Grieg.  But the development shows that this assessment
isn't quite true.  Moreover, it is the contrast that attracts these
musicians.  The development' s stormy, chromatic passages don't lack the
fire that was so curiously absent from the opening.  The recapitulation
shows the same calmness; and the coda reflects the development in its
fierceness.  An odd approach but not unsuccessful.  The Scherzo begins
much stormier than usual and quite keeps this initial thrust throughout
the piano passages.  The eerie mood is never abandoned.  Especially
remarkable are the strong pizzicato chords of the cello, distinctly
reminding of timpani thuds.  The trio is in proper contrast, the dance
quite frenzy, yet never leaving the folk-tune quality with its open fifths.
The second part of it, beginning molto animato gives a shock:  these
repeated chords aren't only animated, but even brutal.  The following quiet
tune is thus only more stark.  Unlike the old Peters score, here the second
part of the trio is repeated.  The real treat of this recording is the slow
movement of the F major quartet.  It begins with a beautiful song, exactly
what I wish for after the Scherzo.  It gets even quieter, into a passage
quite aptly described by Mr.  Chilingirian as 'prayer-like', which is
interrupted by strong recitatives accompanied by unquiet tremolos.  Right
before the opening song returns, a chromatic passage of the violins leads
to a wonderfully warm cello-tune.  The movements ends very abruptly after
about six minutes.  What can be expected of a finale that clocks in just
above three minutes? Not too much, obviously, but it is enough to render
this four-movement version successful.  It opens very sunnily and retains
this mood for quite some time.  It grows slowly darker and more sombre
until it begins to dissolve in an eerie dialogue.  It seems that Grieg
planned some polyphonic work hereafter, but the movement breaks off without
an ending.

The sonics are very good, yes, but not quite perfect.  The sound stage
simply is too big, this is a string quartet and no orchestra!  The
presentation is fine, but nothing spectacular.  It consists of a short
essay on the G minor and a slightly longer one on the F major quartet,
both by Erling Dahl of the Grieg Museum Troldhaugen.  There also is an
interesting commentary by Levon Chilingirian on how he worked out the F
major quartet.  The cover photo is very beautiful, though.  This recording
is warmly recommended.

Jan