This issue completes the recording by the appropriately named Salomon Quartet of the six string quartets (Op. 71 Nos. 1 and 2—A66065, 4/83; Op. 71 No. 3 and Op. 74 No. 1—A66098, 3/84) which Haydn possibly started to write during the course of his first visit to England (1791-2) and which were certainly performed by Salomon's quartet during his second visit (1794-5), even though they were commissioned by and dedicated to Count Anton von Apponyi (a friend and patron who had sponsored Haydn's initiation into Freemasonry in 1785). They are more brilliant and 'public' than any of Haydn's earlier quartets and the influence of the first six of the 12 ''London'' Symphonies (Nos. 93-104) is proved by the fact that each quartet begins, as do all but one of the ''London'' Symphonies, with a distinct introduction (not necessarily slow and often very short) and that, quite apart from their often symphonic character, they sometimes resort to 'orchestral' effects, as in the Largo assai of Op. 74 No. 3.
Both quartets recorded here must be counted among Haydn's finest: the F major, with its bold, virtually monophonic, first movement, its lovely variation-form Andante grazioso, its dramatic Minuet (with a dark Trio in D flat) and its witty finale; the G minor, with its rich and inventive initial Allegro non molto, its grand and spacious Largo assai (in E major!), its dancing G major Minuet (with a stern G minor Trio) and its fiery, Hungarian finale. The Salomon Quartet play on 'authentic' instruments, eschew vibrato and are closely but vividly recorded; they also observe all the repeats, including those of the Minuets the second time through. But there is nothing remotely antique or academic about their approach to the music, which is vibrant with life and musicality in every note: listen to the way they shape the bewitching second subject of the G minor Quartet's first movement, to quote one minute example. If they continue to play Haydn like this they will have at least one listener whose praise will continue to be as tediously effusive as their performances are alive and illuminating.'