You know what to expect by now. Hovhaness's serenely contemplative muse, couched as it is in a readily approachable modal language, undeniably casts its own potent spell. Moreover, a penchant for healthy counterpoint helps to allay any potential longueurs: the likeable First Quartet of 1936, for example, can boast, like Mozart's Jupiter Symphony, a four-part fugue of impressive rigour (hence the work's subtitle). In fact, this movement, along with the opening ''Prelude'', was later reworked for full orchestra into the Prelude and Quadruple Fugue, whilst the vigorous fugue with which the quartet closes also crops up again in the latter half of the middle movement of the Second Symphony, Mysterious Mountain (both available on Delos, 7/94).
Next come three out of the seven pithy movements that comprise the Second Quartet from 1952: the concluding ''Hymn'' is a particularly affecting creation. Both the Third and Fourth Quartets share the same opus number (208) and were inspired by childhood memories. The former basks in a soothing, supplicatory glow, with occasional touches of Eastern promise (aural reminders of the composer's Armenian roots), whereas its more nostalgic companion is a sweetly lyrical essay of beguiling euphony and striking resonance. Delos's collection begins with the haunting, perfectly crafted Four Bagatelles (delightful miniatures, these) and ends with Song of the Ch'in by the Chinese composer, Zhou Long: the 'ch'in' is a traditional Chinese zither and this imaginative, fastidiously conceived piece from 1985 attempts to convey the piquant sounds of that ancient instrument through the 'modern' medium of the string quartet.
Suffice to report, these are consistently pure-toned, beautifully rapt performances from the talented young Shanghai Quartet, and Delos's sound is warm and true to match. Addicts of this prolific figure need not hesitate.'