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 [log in to unmask]