Telegraph Quartet

Haydn’s six Op. 20 string quartets are milestones in the history of the genre. He wrote them in 1772 for performance by his colleagues at the Esterházy court and, unusually, not specifically for publication. Each one is a unique masterpiece and the set introduces compositional techniques that radically transformed the genre and shaped it for centuries to come. Haydn overturns conventional instrumental roles, crafts remarkably original colours and textures, and unlocks new expressive possibilities in these works which were crucial in establishing the reputation of purely instrumental music. The range within the quartets is kaleidoscopic. From the introspective, chorale-like slow movement of No. 1 via the terse and radical quartet No. 3 in G minor to the comic spirit of the fourth in D major, each of the quartets inhabits a distinct musical world. For many, this is some of the greatest music Haydn ever wrote. Playing these seminal works is one of the world’s finest young ensembles, the Doric String Quartet.

The Doric gives outstanding, virtuoso performances of William Walton’s two string quartets. The first of them, formidable in its technical demands and harmonic language, is virtually unrecognisable from the Walton of maturity, embracing as it does the avant-garde ideas he flirted with in his youth. Walton said it was “full of undigested Bartók and Schoenberg”, but, when played with such panache, it provides a pungent contrast to the clarity and spry rhythmic sparring of the later A minor Quartet.

Following the release of its critically acclaimed debut album on Deutsche Grammophon (Australia) in 2018, the Brisbane-based Orava Quartet is set to release its second album on the famed label. Consisting of members Daniel Kowalik, David Dalseno (violins), Thomas Chawner (viola), and Karol Kowalik (cello), the second album is titled Orawa, and is a personal tribute to the group's late mentor Uzi Wiesel. The title of the new album is named after a work by Polish composer Wojciech Kilar (1932-2013), which appears on this album, and was introduced to brothers Daniel and Karol Kowalik by their father during their childhood, becoming such an intrinsic part of their formative years that it inspired the quartet's name.

Charles Daniels enters into the exultant spirit of ‘Lobe den Herrn’, especially its exuberant final alleluia, and the three male voices bring an almost Italianate sweetness to ‘Jesu dulcis memoria’, one of several fine examples of Buxtehude’s fascination with the chaconne, as well as conveying all the darkness and pain of the richly-scored Passiontide meditation ‘An filius non est Dei’.