Sirius Quartet Evans String Quartet No 1

If this premiere recording of Stephen Hough’s String Quartet No 1 may be regarded as definitive—the work is dedicated to the Takács Quartet—those of the quartets by Ravel and Dutilleux are no less distinguished.

Like many musical projects planned for 2020, the plans of the Ehnes Quartet to record Beethoven’s late quartets underwent a drastic revision. Rather than cancel the project, some ingenious technology was employed. James Ehnes takes up the story ‘Our quartet was greatly looking forward to a week of recording in the United Kingdom in August 2020, but the COVID-19 pandemic made it impossible for us to travel to the UK, and for our UK-based producer, Simon Kiln, to travel to us. We were, however, able to take advantage of the wonders of modern technology by recording in the USA with Simon (producer Simon Kiln) monitoring the sessions in real time in London A fortunate benefit of not traveling overseas for these recordings was that the days we had scheduled for travel become additional recording days, allowing us to record all of Beethoven’s string quartets from Op. 74 onwards. The four CD’s we recorded during this intense two-week period will always be treasured reminders for us of a brief, bucolic window of artistic fulfilment during a terribly challenging period for the world’.

A slightly curious compilation (two Russian performances dating from 1962, one English from 1976) but an attractive one, and very good value. I had not heard the Gabrieli's Tchaikovsky before, and liked it a great deal: properly chamber-scale, in colour as well as tone of voice, and nice underlining of the lyricism in even Tchaikovsky's most exuberant pages.

The Afflatus Quartet’s second album features classical repertoire by Beethoven and Mozart. The distinguished ensemble members create a rich, full sound on this wonderful disc…

One of the great recent versions of - arguably - the towering string quartets of the 20th century is by frequent Buffalo visitors the Vermeer Quartet. Three decades separate the composition of the first Bartok Quartet from the sixth and last. Not only is the stylistic diversity within them often much exaggerated but so too are the difficulties presented by the third quartet, which, for all its dissonance, is so structurally cohesive (it's the shortest at 15 minutes - half the length of the first, fifth and sixth) that it remains one of the most powerful works in the quartet repertoire.