The
Pro Arte Quartet Recorded in 1937, released as HMV 78s,
D.B.3543-549
Matrix
numbers: 2EA: 5584-85, 5568-71, 5576-79, 5572-75
Takes: 1,1,2,1,1,1,2,2,1,1,3,2,1,2
Download ID: 177481
(Duration
57'36"")
Quartet
in B flat major, Op.3 No.2
Quartet
in D major, Op.50 No.6
Quartet
in B flat major, Op.64 No.3
Quartet
in G major, Op.74 No.1
Play
sample movement:
The
combined artistry of Joseph Haydn, the Pro Arte Quartet and Pristine Audio
continue at a very high level in this seventh and penultimate volume of
the series. I have already used up all my adjectives of praise in describing
the performances and the sound reprocessing and I will confine myself
to the music.
Op.
3 #2
There is youthful Haydn, but there is no immature Haydn. A very melodious
movement starts with a swinging theme and presenting a quite regular sonata
form. Too early for Haydn's tricks. The second movement features a chordal
theme alternating twice with a fast allegro. Just two movements.
Op.
50 #6
A very moderate allegro opening leads to a modulating development and
a regular recapitulation. A fast moving andante is beautiful but rather
conventional. A bright minuet leads to a finale made from a wisp of a
theme based on rapid repeated notes. Maybe not a top drawer Haydn opus,
but worth hearing.
Op.
64 #3
An assertive opening theme which gives way to a wide-ranging lyrical theme
opens the quartet. The development is fascinating with its gallaping rhythm
and an exciting recapititulation. The andante is very beautiful with interesting
modulations at the nd. A very vigorous minuet with a drone-bass trio leads
to a kaleidescopic presto finale, filled with suprise modulations.
Op.
74 #1
A masterpiece! An entire first movement based on an opening 4-note theme
put through every conceivable development device. A lovely, relaxed, lyrical
andante. An emphatic yet droll minuet leading to an allegro molto finale
ending with some powerful drone basses.
Were
some catastrophe to happen to Western Civilization and were only this
Haydn/Pro Arte series left, I am confident that a music student of the
40th century would find enough here to understand the Classic Era.
