Mozart String Quartet 16 & String Quintet 3
View record and artist detailsRecord and Artist Details
Composer or Director: Wolfgang Amadeus Mozart
Label: ASV
Magazine Review Date: 8/1997
Media Format: Cassette
Media Runtime: 67
Mastering:
DDD
Catalogue Number: ZCDCA992
Tracks:
| Composition | Artist Credit |
|---|---|
| String Quartet No. 16 |
Wolfgang Amadeus Mozart, Composer
Lindsay Qt Wolfgang Amadeus Mozart, Composer |
| String Quintet No. 3 |
Wolfgang Amadeus Mozart, Composer
Lindsay Qt Louise Williams, Viola Wolfgang Amadeus Mozart, Composer |
Composer or Director: Wolfgang Amadeus Mozart
Genre:
Chamber
Label: ASV
Magazine Review Date: 8/1997
Media Format: CD or Download
Media Runtime: 67
Mastering:
DDD
Catalogue Number: CDDCA992
Tracks:
| Composition | Artist Credit |
|---|---|
| String Quartet No. 16 |
Wolfgang Amadeus Mozart, Composer
Lindsay Qt Wolfgang Amadeus Mozart, Composer |
| String Quintet No. 3 |
Wolfgang Amadeus Mozart, Composer
Lindsay Qt Louise Williams, Viola Wolfgang Amadeus Mozart, Composer |
Author: DuncanDruce
Here’s a really fine performance of the great C major Quintet. The Lindsays take the first movement at a true Allegro, so that it bowls along in top gear, the details vivid and sharply etched. Listening to it, I became intensely aware how much of this grandest and most spacious movement in Mozart’s chamber output is marked to be played softly. In the Lindsays’ hands the wonderful counterpoint in the development section can be heard with exceptional clarity as the tension builds up, but not the dynamic. The Andante sounds the more touching for never being overplayed, and it’s a special pleasure to hear how the most florid passages for first violin and first viola fit effortlessly into the rhythmic scheme. In the finale, Peter Cropper introduces some beautifully played portamentos in the main theme, and the whole movement sounds delightfully witty and happy. The 1970 Grumiaux Quintet recording scores by virtue of its lustrous string sound. They play with greater intensity, perhaps, but, by the side of the Lindsays, the opening movement seems just a bit ponderous, and the phrasing less idiomatic.
The E flat Quartet, K428 is cool and stylish, which suits this enigmatic work rather well, though the robust and gutsy Petersen Quartet maybe get more out of the Minuet and the energetic parts of the first movement. But the Lindsays’ way of using Mozart’s marks of expression and articulation to make the music speak feels absolutely right, especially in their delicate, refined Andante, and it’s good to hear the quartet played with all its repeats. The recording has a nice intimate quality, though not too dry; sometimes, more often in the quartet itself, first violin and cello tend to dominate the inner voices.'
The E flat Quartet, K428 is cool and stylish, which suits this enigmatic work rather well, though the robust and gutsy Petersen Quartet maybe get more out of the Minuet and the energetic parts of the first movement. But the Lindsays’ way of using Mozart’s marks of expression and articulation to make the music speak feels absolutely right, especially in their delicate, refined Andante, and it’s good to hear the quartet played with all its repeats. The recording has a nice intimate quality, though not too dry; sometimes, more often in the quartet itself, first violin and cello tend to dominate the inner voices.'
Mozart String Quartet 16 & String Quintet 3
Mozart String Quartet 16 & String Quintet 3
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