The divine Alban Berg

April 28, 2012 § Leave a comment

Not all Lindsays’ recordings of Haydn are equally perfect.  Their Op. 33 and Op. 54 have an ugly, screechy, scratching sound. This may perhaps be due to poor sound engineering; but the tempi definitely are not.  I thought I would never hear myself say such a thing, but Kodaly play op. 54 better; and Borodin op. 33.

The undisputed masters of all string quartet repertoire which they have ever deigned to play are of course the Alban Berg:  even from the exalted heights of Borodin, Kodaly, Lindsays and Mosaiques, one can at best glimpse only their feet floating high up in the sky.  What a pity they have recorded so little Haydn — opting instead for all of Beethoven.  One is thankful of course that they have — Die Grosse Fuge had never — and will never again — sounded so good, but what a pity not to have op. 20 or op. 33 by their hand.

The fault is no doubt the producers’ –who probably think Beethoven is serious stuff, but Haydn “inconsequential” (people’s power of perception never penetrate the surface, polish is detrimental to popularity).

Kremer’s ensemble is very good — why does he not record more than the Seven Last Words?


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