In the late 1970s Bernstein recorded Op. 131 with the strings of the Vienna Philharmonic for DG, inspired as he told us by hearing a performance by full strings under Mitropoulos in 1937, which bowled him over. Robin Golding wrote ''with admiration for the burning, passionate conviction'' of Bernstein's interpretation. This new version by Sandor Vegh and the International Musicians Seminar Soloists comes from a totally different world, far from the sumptuous sonority that distinguishes the Vienna strings. It aspires rather more to the condition of chamber music, and achieves much greater intimacy of feeling. The players are fewer in number (four to each part) and include violinists of the quality of Adelina Oprean, Krysia Osostowicz and Daniel Phillips. There is a sense both of discovery and dedication, and for those who find, as I do, Bernstein's account a little too opulent and overheated, this will make a welcome alternative. There is certainly a greater repose when that is required; and, although dynamic shadings are conspicuously observed, there is never any expressive exaggeration.
Mitropoulos and Bernstein are not the only conductors to perform Op. 131 with enlarged strings. In the earlier part of the century, before the advent of the gramophone, it was not uncommon for full strings to be used in this and other late quartets. As a number of recent releases have showed us, Mahler even performed Death and the Maiden in this fashion. As one would expect from anything directed by Vegh, these are performances of great seriousness and integrity from which one learns. We are more used to hearing the Grosse Fuge with full strings, for the music strains the quartet medium to the limits: Furtwangler, Klemperer and Karajan recorded it in this form and Vegh secures greater colour and contrast than any of them. Personally, I much prefer both works in the original medium, but those who want them in this form should certainly investigate the present issue. The recordings, made in 1987 and 1989 respectively, in St Bunyan Church, Cornwall are very clean, though there is a certain coldness about the upper strings.'