Haydn: String Quartets Op. 33 Nos 1 3

“Gut strings and classical bows are also the tools of a captivating quest for sonority”, French magazine Diapason recently wrote to describe the Chiaroscuro Quartet. After Op. 20, Joseph Haydn’s first major string quartet cycle, and Op. 76, his last, the internationally renowned ensemble is now embarking on the Quartets Op. 33, dubbed the “Russian Quartets” and dedicated to the Russian Grand Duke Paul, the future Tsar Paul I.

Virile, colourful performances … sharply responsive to the music's robust earthiness and gleeful unpredictability. On 3 December 1781 Joseph Haydn dictated to his secretary a round robin letter inviting subscriptions to a new set of string quartets. The new Quartets, now know as Opus 33, were dedicated to the Russian Grand Duke Pavel Petrowich (1754-1801), hence their collective nickname. Opus 33 was a great success for Haydn. It was rapidly taken up and re-published in other European capitals, by Hummel in Berlin, by Schmitt in Amsterdam, by Napier and Forster in London, by Guera in Lyons, and by Le Menu and Boyer and then by Sieber in Paris.

These performances are every bit as searching and exhilarating as the Lindsay’s previous Haydn recordings for ASV. Theirs is chamber-music-making of unusual recreative flair, untouched by the faintest hint of routine. Many quartets still seem to treat Haydn as an agreeable aperitif to the ostensibly meatier fare later in the programme. But both live and on disc the Lindsay bring to the composer the same dedication and interpretative insight that mark their playing of Beethoven or late Schubert.

Virile, colourful performances … sharply responsive to the music's robust earthiness and gleeful unpredictability. On 3 December 1781 Joseph Haydn dictated to his secretary a round robin letter inviting subscriptions to a new set of string quartets. The new Quartets, now know as Opus 33, were dedicated to the Russian Grand Duke Pavel Petrowich (1754-1801), hence their collective nickname. Opus 33 was a great success for Haydn. It was rapidly taken up and re-published in other European capitals, by Hummel in Berlin, by Schmitt in Amsterdam, by Napier and Forster in London, by Guera in Lyons, and by Le Menu and Boyer and then by Sieber in Paris.

These three quartets from opus 33 define the archetype of the 'Classical' string quartet, a genre that would henceforth blossom independently of its patrons. Haydn makes of it a music that is light, subtle, intentionally humorous, concise and radiant, capable of leaving private drawing rooms for popular concerts. Mozart immediately detected its originality as would the classic composers of the…20th Century.

On 5 April 1784 Joseph Haydn wrote to the Viennese music publishers Artaria and Co accepting an offer of three hundred florins for a set of new string quartets, which he thought would be finished that July. In fact Artaria had to wait three years, until July 1787, before they received all six of the set that was to become known as Opus 50.

Opus 18 needs little introduction as Beethoven’s supremely confident first step in total mastery of the Classical String Quartet. From the opening bars of Quartet No. 1 which bristle with curiosity and possibility to the wit and humour of Quartet No. 2 and the supressed energy and teasing harmonic uncertainty of Quartet No. 3, Opus 18 represents Beethoven’s only quartet contribution during his ‘first period’ and provides the listener with a tantalising glimpse of the extraordinary music that was to follow. The Eybler Quartet came together in 2004 to explore the works of the first century-and-a-half ofthe string quartet and plays on instruments appropriate to the period of the music it performs. The Toronto-based ensemble’s live performances have consistently garnered praise as 'glowing and committed', 'spirited' and 'lively and energizing'. The Eybler Quartet harnesses a unique combination of talents and skills: razor-sharp ensemble skills, technical prowess.