COMPOSERS: Tchaikovsky
LABELS: Brodsky
ALBUM TITLE: Brodsky Quartet
WORKS: String Quartet No. 2 in F; String Quartet No. 3 in E flat minor
PERFORMER: Brodsky Quartet
CATALOGUE NO: BRD 3500
According to Jacqueline Thomas’s
personable notes for this issue,
Tchaikovsky wept at the original
Brodsky Quartet’s impromptu
performance of his Third Quartet.
Would he have done the same for its
namesake’s own-label championship
of what remains far from mainstream
repertoire? Possibly not, though he
would no doubt have been moved by
their commitment and impressed by
how modern much in his second and
third quartets sounds today. Most
impressive is the Brodsky’s sense of
long-term adventure. You can hardly
fail to be gripped by the way the
frenetic, very orchestral climax of the
F major Quartet’s opening movement
– quadruple stopping from the violins
– yields by careful degrees to a calmer,
Classicising influence. Surprising,
too, is the way that Andrew Haveron
– a first violinist of whom Brodsky
himself, dedicatee of Tchaikovsky’s
Violin Concerto, would have been
proud – underlines the sheer strength
of will behind the big song of the
finale, a far from easy signature theme
suddenly giving way to what sounds
here like a frenetic, potentially
catastrophic coda.
Unexpectedly, the centre of gravity
is not always to be found in both
quartets’ searching slow movements;
that they do not sear the listener as
usual may be due to the Brodsky’s
decision not to spill the emotional
beans too soon, though there’s still
plenty of forcefulness and focus,
vividly recorded. All I miss is the more
flexible, gracious and occasionally
fantastical handling of the songs and
dances that sets the classic Borodin
Quartet performances apart. This,
though, is fine work and should please
this team’s many admirers. All power
to the Brodsky label. David Nice
Tchaikovsky: String Quartet No. 2 in F; String Quartet No. 3 in E flat minor
According to Jacqueline Thomas’s
personable notes for this issue,
Tchaikovsky wept at the original
Brodsky Quartet’s impromptu
performance of his Third Quartet.
Would he have done the same for its
namesake’s own-label championship
of what remains far from mainstream
repertoire? Possibly not, though he
would no doubt have been moved by
their commitment and impressed by
how modern much in his second and
third quartets sounds today. Most
impressive is the Brodsky’s sense of
Our rating
4
Published: January 20, 2012 at 3:55 pm