The Op. 44 Quartets date from Mendelssohn's all-too-brief maturity, and must surely count among the most attractive in the repertory. No alternative single CD couples Nos. 1 and 2-although it is worth bearing in mind that the 'Second' was actually the first to be composed, and the 'First', the last. The D major opens with all the ebullience of the great string Octet, and the Ysaye players certainly don't stint on energy. Neither do they pass on the long first movement exposition repeat (they observe the E minor's, as well), which adds to the mounting excitement. However, I have two niggling reservations, one relating to the performances, the other to the sound. Comparing the Ysayes with the Melos Quartet (my own favourites in this effervescent cycle-although their CDs are not available individually) finds the latter altogether more incisive and cleanly focused-in fact, some might find them just a little too immaculately tailored. But the Ysaye Quartet's playing, although physically exciting, is stylistically rather generalized and therefore a little lacking in individuality. As to the sound (Abbaye Royale de Fontevraud, France), no one could fault the balancing, but very occasionally the acoustic 'catches' certain notes (mostly in the middle and lower registers, at around 1'14'' into Op. 44 No. 1's first movement), setting up a sort of resonant overhang... nothing too drastic, but still mildly distracting.
The relatively pensive E minor work elicits a more vivid response, but again the Melos are even keener: their Allegro assai appassionato has greater dynamism (and is more meaningfully inflected), while their Scherzo is prettier, less headstrong. But there are 'plus' points for the Ysayes, too: the aforementioned repeats (which the Melos do not observe), as well as the D major's Andante espressivo ma con moto (especially from, say, 2'00'' in) and the E minor's Andante, both of which find the younger players in a pleasingly expressive frame of mind. With only Op. 44 No. 3 and the early 1823 E minor Quartet to go, the Ysaye Quartet is now two-thirds of the way through its Mendelssohn quartet cycle. In terms of gusto, impulse and overall intelligence, it compares favourably with the now rather elderly Bartholdy Quartet recordings (which again, are only available as a set); but although both they and the Coull Quartet (Hyperion) have plenty to offer, I'd still opt for the (analogue) Melos set-a pin-sharp, head-on encounter with some wonderful music and surely one of the most desirable (and well-recorded) mid-price quartet bargains in the current catalogue.'