It seems a strange coincidence, given the neglect of Saint-Saens’s two string quartets, that two impressive recordings should arrive at the same time. The composer was 64 when he wrote the First Quartet, a closely argued, intense piece, and didn’t follow it up for another 20 years; the Second Quartet is not dissimilar in style to those far more popular fruits of his old age, the three woodwind and piano sonatas. Though neither quartet has the melodic memorability of Saint-Saens’s best-known music, the neglect is hard to understand – there’s an effortless mastery of string textures, inventive and original use of counterpoints, and a delightfully fresh approach to form, with continual surprises enlivening the overall unity.
The Medici players (curiously, they aren’t named, nor are the interesting booklet-notes credited) have clearly made themselves at home with the music and sound strongly involved throughout. They are also extremely well recorded, with an appealingly full, rich sound. Consistently, they opt for slower speeds than the Miami Quartet – the combined duration of the two works is nearly 12 minutes more. In the two slow movements this can work to their advantage; there’s a fine sense of drama and an impressive range of expression. Elsewhere, their more leisurely readings can sound a bit laboured, if heard next to the Miami performances. This is particularly so in the syncopated Scherzo in No. 1 (like a minor-key variant of the Scherzo of Beethoven’s Op. 135 Quartet) and the Haydnesque opening Allegro of No. 2.
The Miami Quartet are, indeed, a brilliant ensemble. Exceptionally well balanced, there’s an uncomplicated, unexaggerated elan to their playing, which seems just right for this music, in which intellectual playfulness is an important ingredient. The contrapuntal fun and games of No. 2’s finale has a stunning light-fingered virtuosity, yet the more serious moments are just as effective – the sweet serenity of the opening of No. 1’s Adagio, for instance. The Conifer recording is rather drier than the Koch, though still admirably realistic; its clarity highlights the exceptional precision of the playing. So it’s the Miami version that has to be my recommendation, even without taking into account their beautiful performance of the Faure; the subtle harmonic and emotional shifts of this unique piece are captured in the most convincing way, with wonderfully affecting changes of tone colour. All round it’s an outstanding disc.'