String Quartet No. 3 in F major, opus 73; String Quartet No. 7 in F# minor, opus 108; String Quartet No. 12 in Db major, opus 133.
Philharmonia Quartett Berlin: Daniel Stabrawa (violin 1), Christian Stadelmann (violin 2), Neithard Resa (viola), Jan Disselhorst (cello).
Thorofon CTH 2238. DDD. TT 71:30.
Recorded 1994, 1995, 1996, Waldkirche Berlin-Heiligensee.

Unlike the other "complete quartets" discs in this issue, this appears to be a one-off production. A pity, for the music-making on this disc is as exemplary as one would expect from the Berlin Philharmonic Orchestra's first concertmaster, chief second violinist, and chief violist (and though Jan Disselhorst isn't head of his section, he's an even match here). They yield a weightier sound than either the Rubio or Yggdrasil achieve.

A major weakness is that in the first movement of the Third Quartet, the Philharmonia omit the Fig. 11 repeat, excising a whopping 99 bars (almost a minute and a half). I find this deplorable, though with the Philharmonia's slow pace and languid phrasing perhaps some listeners will not mind.

As to finer points, I'd have preferred a little more angularity in the third movement, which the Philharmonia smooth over, not offering much contrast with the preceding Moderato con moto. The Adagio is appropriately gloomy, though, with rich grain on low strings alternating with a gossamer-light thread in high register. The concluding Moderato exemplifies the Philharmonia's long-range vision, their sensitivity to local colour never distracting them from the tour as a whole.

After the Yggdrasil's account, the Philharmonia's interpretation of the Seventh Quartet sounds downright depressive. Instead of the former's scintillating showpiece, they present a moody and troubled work. Even the impish theme that opens and closes the quartet sounds morose. It is a valid take on this opus, one worth getting to know.

This performance of the Twelfth Quartet is also very fine. The Philharmonia instill emotion into every section: from a bittersweet opening Moderato, through uneasy expectancy, abandonment, the forbidding return of the opening tone row, now dehumanised, to a return to longing, and finally an almost triumphant close.

Few listeners, I imagine, will be disappointed with these performances, and I hope that Thorofon can enlist the Philharmonia for future outings in this repertoire. But be warned about that bonsai first movement of the Third, which is certainly grounds for dismissal.

W. Mark Roberts
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