Riding on the crest of the Corelli revival is the first in a series of recordings of the trio sonatas performed by the superlative Purcell Quartet. With fine period-style recordings by members of The English Concert (Archiv Produktion), London Baroque (EMI) and Monica Huggett and friends (Philips), along with those by the Bizantina Accademia (Europa Musica/Koch International), Aurora Ensemble on Tactus/Conifer and the Nice Baroque Ensemble on Adda/Gamut (the last two reviewed in April) already available, another might be thought to be superfluous. Not so. The Purcell Quartet are at their best here, compelling listeners with vibrant and arresting versions which easily equal—and some will think better—all that have come before.
What makes these stand out is a combination of factors—the playful freshness of the moment simultaneous with the architectural breadth with which they infuse the pulse and harmony of each movement. With the freshness comes a remarkable sense of drama, often missing in performances of music so similar from one sonata to the next. Banished are tiresome cliches. Clarity of expression, be it in terms of bowing or interpretation, is never compromised by speed; their sense of tempo, especially in the fast movements, is superb. The warmth of their ensemble timbre is a particular delight—colourful and bright in the quick movements, darker and blended in the graves and adagios; the frisson of sound which Catherine Mackintosh can summon from her Grancino violin (as in Op. 1 No. 6) serves as piquant seasoning, a delightful foil for the delicacy and refinement of that of Elizabeth Wallfisch. The three accompanying instruments beautifully insinuate themselves within the textures, and indeed Jakob Lindberg's theorbo playing shines out in Op. 1 No. 4.
So, while one might remark at greater length on the details of this recording (such as the perky, intricate clockwork rhythms in the first Allegro of Op. 1 No. 3), anyone wishing to know these works better should experience the Purcell Quartet's deeply insightful performances for themselves.'