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The
Pro Arte Quartet
Recorded in 1933 and originally released as HMV DB12159-2165
Matrix Numbers: 2B5500-I, 2B5501-I, 2B5496-II, 2B5497-II, 2B5498-II,
2B5499-I, 2B5503-I, 2B5504-I, 2B5505-I, 2B5506-I, 2B5507-I, 2B5508-I,
2B5509-II, 2B5510-I
(Duration
59'25")
Quartet
in F major, Op.3 No.5 (now generally attributed
to Roman Hoffstetter)
Quartet
in E flat major, Op.33 No.2 ("Joke")
Quartet
in E flat major, Op.64 No.6
Quartet
in B flat major, Op. 71 No.1
Play
sample movement:
There
is something about the Pro Arte performances and their life-giving enhancements
by Pristine Audio that has provided me a much greater insight at the age
of 73 into the unfathomable depths of the world of Haydn's quartets. They
are different in kind from Mozart and Beethoven and Schubert and I despair
from ever summing them up. The best I can do is to say is that they are
"genius at cosmic play". They are, of course, well served by
the modern quartets--the Mosaiques and the Juilliard, in particular--but
there is something about the Pro Arte that sets forces in motion in me.
Op.
3 #5 is not by Haydn but by Roman Hoffstetter, who, if he is not Haydn,
should be. A perky, irrepressible allegro leads to the famous serenade,
which the Pro Arte plays very straight. A forceful minuet then is followed
by a nippy little theme which breaks out of its cage and does some big
things, a typical Haydn trademark. Fess up, Roman, where did you get the
manuscript?
Op.
33 #2 is a very inventive work that opens with a large, swinging theme.
Strong contrapuntal and harmonic development lands us at one of Haydn's
favorite tricks: the False Recapitulation! A little more devopment and
we get the real recapitulation which is filled with more development.
A minuet with surprises and a waltz-like trio is followed by a serious
hymnlike slow movement with fortissimo interjections. Finally, a real
triumph, a jolly presto made from only one theme--one of Haydn monothematic
finale marvels. What a work!
Op.
64 #6 features a mellow theme subjected to a strong contrapuntal development
and then even worked over some more in the recapitulation. The second
movement is a 3-part solemn adagio punctuated by a string caprice. An
unsettled minuet is paired with a trio with very high harmonics. The finale
has a skittish, nondescript theme which is always a signal in Haydn that
all Hell will break loose and boy does it ever.
Finally,
Op. 71 #1 begins with five chords announcing a looselimbed theme which
goes through more adventures than Rambo. A very beautiful and harmonically
advanced slow movement follows. A mellow, traditional minuet leads to
a coruscating presto finale in sonata form. The development is so fast
and serious that while I was looking for the recapulation, the movement
and the quartet ended soft and quicksilver.
Notes
and review: Bill Rosen
Find
out more:
Quartet
in E flat, Op. 33 No. 2 2nd movement - Scherzo & Trio
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