MENDELSSOHN String Quartet in E?, op. 44/3. Four Pieces for String Quartet: Nos. 1, op. 81/1; 2, op. 81/2. Octet, op. 201 • Mandelring Qrt; 1Qrt di Cremona • AUDITE 92658 (SACD: 74:00)
I will not waste time orRead more space praising these performances with faint damnation; my censure is without reservations. In issues 36:3 and 36:5, respectively, I reviewed with increasing discontent Volumes 1 and 2 of the Mandelring’s survey of Mendelssohn’s complete chamber music for strings. I found the players technically proficient, but not quite as accomplished as those of the Emerson and Pacifica Quartets in this repertoire, and not as musically poised or polished as either of them. I also complained about the Mandelring’s overly aggressive approach, with bows digging hard into strings in heated fortes and rapid passagework, lending a good deal of abrasiveness to the tone which I found unpleasant and fatiguing. Nor did the recordings help any, with microphones placed so close to the instruments one could practically smell the clouds of rosin-dust spiraling through the air.
The present Volume 3 makes no corrections to the above grievances; if anything, it doubles down on them with almost nose-thumbing insolence. The Quartetto di Cremona, an ensemble I spoke very highly of in a 37:1 review of its launch of a new Beethoven cycle, here joins the Mandelring in the most hectic, driven, and inelegant performance of Mendelssohn’s Octet I think I’ve ever heard. Bows flail and scratch, bruising and crushing the music under them as if stomped on by jackbooted thugs, and Sebastian Schmidt, the Mandelring’s first violinist, goes after his high notes in full attack mode.
The Octet by the 16-year-old Mendelssohn is a work of incomparable genius, but it’s a score brimming over with youthful high spirits and lightness of bearing. Where are the grace, refinement, felicity, stylishness, and sophistication in playing like this? The answer is simple; nowhere. If it’s all of these qualities you want in a performance of the Octet, I’d suggest you listen to the recording by the Afiara and Alexander String Quartets reviewed in 33:6.
With this third strike in the Mandelring’s Mendelssohn survey, I would strongly urge you to stick with the Pacifica and Emerson Quartets. The Pacifica, unfortunately, did not include the Octet in its cycle of the string quartets, but the Emerson did, and, as with everything the Emerson does, it’s a wonderful performance, though, for the Octet, I still prefer the Afiara and Alexander on Foghorn Classics.
P.S. I (dis)respectfully offer the same advice to Audite as I have to other record labels of German provenance: drop the “Bartholdy.” To everyone else around the world, it’s just Mendelssohn, so get over it.
String Quartet No. 5 in E-Flat Major, Op. 44, No. 3, MWV R28: I. Allegro vivace
String Quartet No. 5 in E-Flat Major, Op. 44, No. 3, MWV R28: II. Scherzo: Assai leggiero vivace
String Quartet No. 5 in E-Flat Major, Op. 44, No. 3, MWV R28: III. Adagio non troppo
String Quartet No. 5 in E-Flat Major, Op. 44, No. 3, MWV R28: IV. Molto allegro con fuoco
Andante sostenuto and Variations in E Major, Op. 81, No. 1, MWV R34
Scherzo in A Minor, Op. 81, No. 2, MWV R35
String Octet in E-Flat Major, Op. 20, MWV R20: I. Allegro moderato ma con fuoco
String Octet in E-Flat Major, Op. 20, MWV R20: II. Andante
String Octet in E-Flat Major, Op. 20, MWV R20: III. Scherzo: Allegro leggierissimo
String Octet in E-Flat Major, Op. 20, MWV R20: IV. Presto
Average Customer Review: ( 1 Customer Review )
Exemplary PlayingNovember 12, 2014By Paul C. (Lancaster, PA)See All My Reviews"The German Mandelring Quartett play with incredible intensity and precision. I was intensely absorbed from the first bar through the last note on both the mature Quartet cycle Op 44 and the youthful Octet Op 20 reinforced by the Quartetto di Cremona. The disc is exhilarating and very enjoyable. I can't imaging better playing of these works by any other quartet. Highly recommended."Report Abuse