Haydn: String Quartets Op. 33 Nos 1 3

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.

In their survey of Haydn's string quartets for ASV, the Lindsays have set about the business of restoring these Classical masterpieces to their proper place in the repertoire, with all their brilliant wit and brusqueness intact, and without undue sweetening or romanticizing. The point, it seems clear, is to bring Haydn out from under the familiar shadows of Mozart and Beethoven, and to render his quartets as the true models of quartet writing, not as light Rococo divertissements or tamer antecedents of greater works. The Lindsays are sharp in their characterizations of Op. 33, Nos. 3, 5, and 6, and their lean textures, crisp articulation, transparent repartee, and pungent attacks distinguish these performances from more commercially pretty or polished versions.

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.

The Salomon's observant, sympathetic readings, beautifully recorded, make a highly persuasive case for works that, the 'Lark' apart, are still far too little heard.

Fine performances which are likely to provide lasting pleasure, as is already proven from previous issues.

The six quartets, Op. 71 Nos. 1-3 and Op. 74 Nos. 1-3, belong to the period of Haydn's first visit to London, which lasted from January 1791 to June 1792. The autographs are actually dated 1793, but Haydn himself included them in the list of works he had composed while in england, and there are reasons for believing that this latter suggestion is the more likely. One reason is the occasional evidence that Haydn was trying to reproduce orchestral effects: the splendour of Salomon's orchestra was still ringing in his ears and he may, half consciously, have tried to imitate it in his quartets. a second and more important one is the fact that each of the six works is prefaced, unlike any of Haydn's other quartets, by an introductory passage or motif, however short, that remains distinct from the first movement even though it may exert some influence over it. This unique feature unquestionably derives from the 12 ''London'' Symphonies, all but one of which begin with a slow introduction.

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.

For all that there are wonderful things in the string quartets preceding this set of six in Op. 76, for me there is a new depth of profundity and invention here, marking yet another step up in Haydn's ceaselessly evolving creativity. Haydn had already composed masterpieces, some dating back thirty years before this; the quality and popularity of many of those such as the "The Joke", "The Razor" and "The Lark" are indicated by the very fact that they acquired those nicknames and in this set of six we have three undoubted chefs d'oeuvre all similarly given labels to denote their originality and appeal.

Those familiar with The Lindsays’ recent Haydn recordings will need little encouragement to sample this set. Haydn demands close attention from his listeners; as with a wellconstructed story‚ each event has significance‚ and it’s a measure of The Lindsays’ knowledge and appreciation of the music that they are able to bring each episode to life in a way that illuminates its position in the overall plan.