"While the Petersen Quartet has recorded all sorts of repertoire since it signed with Capriccio in the middle '90s, this disc of French quartets from the fin de siècle is still something of a departure. Because while Beethoven and Schubert and Shostakovich all require the same sort of earnest commitment and intense attitude, Milhaud, Lekeu, Chausson, and Ravel are an entirely different bouillabaisse. (…) Capriccio's super audio sound is as clean and detailed as its conventional sound, but even deeper and warmer." ~allmusicguide
"While the Petersen Quartet has recorded all sorts of repertoire since it signed with Capriccio in the middle '90s, this disc of French quartets from the fin de siècle is still something of a departure. Because while Beethoven and Schubert and Shostakovich all require the same sort of earnest commitment and intense attitude, Milhaud, Lekeu, Chausson, and Ravel are an entirely different bouillabaisse. (…) Capriccio's super audio sound is as clean and detailed as its conventional sound, but even deeper and warmer." ~allmusicguide
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.
This venerable recording by the Italian Quartet from 1965 was, for many years, the standard reference copy of both works either individually or as a coupling. One of the considerable virtues of this group of players was that they could always be relied upon to play in tune and to play with musicianship. The competition was not so strong as it is today as many of the alternative groups simply could not deliver accuracy in tuning (or even worse, the notes). This was rarely commented upon in review magazines at the time, a source of complete bemusement for me, but as one who was expected to play in tune I found listening to string chamber music almost beyond bearing for much of the time - except for this group.
There are two ways of looking at the string quartet: one is serious, the other not frivolous but ingenuous. The first proclaims, with Vincent d’Indy, that it ‘must, to have real artistic significance, be a work of maturity’; examples in support of this include Franck’s and Faure’s quartets, and the late Beethoven’s.