Although we are used to having Bruch's G minor and Mendelssohn's E minor Violin Concertos coupled on a single disc, I suspect that a pairing of the two composers' string quartets might prove even more appropriate-and revealing. The most striking differences between them, however, relate to overall musical quality and thematic distinctiveness (or a conspicuous lack of same), for whereas Mendelssohn's precocious early essays are works of genius, Bruch's (completed in 1856 and 1860, respectively) are relatively conservative and largely derivative-most notably of Mendelssohn himself. Other influences include Schumann (especially in the E major piece) and Beethoven, although palpable anticipations of Bruch's own warm, thick-textured mature style inform both works.
The C minor Quartet strikes me as the better of the two, with a pleasing Adagio (reminiscent, in part, of Mendelssohn's Octet) and a keenly cantering finale that works up to a vigorous closing page. The E major's first movement effectively alternates slow and fast music; this is a rather bigger, more heavily worked piece, with a Schumannesque Andante quasi adagio and further Mendelssohnian recollections in the finale (hints of the Second Symphony, for example).
These are appealing, sincerely voiced quartets and not without the odd stylistic surprise, but don't expect novel revelations. Certainly readers who respond to the quartets of, say, Schumann, Dvorak, Tchaikovsky and Mendelssohn should derive modest enjoyment from them. The Academica Quartet play with conviction, and although the widely spaced 1983 ADD recording is occasionally muffled, Dynamic's sound-picture remains perfectly adequate.'