Couplings of the Berg are now numerous and though few ensembles succeed in both works, the Prazak Quartet get closer than most. Indeed, they quite eclipse the Leipzig Quartet’s recent account of Op 3 (Dabringhaus und Grimm, 3/01), controlling the formal development that draws together the two movements with finely judged momentum. Vibrato is sparingly applied, and the haunting, expressive viola playing of Josef Kluson is an especial pleasure. The Lyric Suite seems even more successful, with the oblique humour of the Allegro giovale convincingly projected, an Andante amoroso which is never unduly languorous, and a rhythmically precise Allegro misterioso that merges effortlessly into its ecstatic trio. Expressive focus slips marginally in a less than intense Adagio appassionato and a Presto delirando that loses impetus in the closing reprise. Yet the Largo desolato is never too fulsome emotionally to make the unwinding into nothingness of the final bars feel anything other than inevitable.
Interest will centre on this first recording of the suppressed vocal part that shadows the melodic line in the Lyric Suite’s final movement; though, to be honest, the setting of a self-absorbed Stefan George poem, sung with rather squally tone by Vanda Tabery, adds little of intrinsic musical substance, beyond making literal the emotional turmoil implicit in the instrumental writing. Webern’s Op 28 Quartet, however, is a decided success; never sounding calculated in the austere but supple counterpoint of the outer movements, and bringing a subtle lilt to the central scherzo. As an overall collection, this is well worth considering