Interpretations impetuous, imaginative and technically mastered

This disc is a new edition of another appeared in 2009. The Cuarteto Casals was founded in Madrid, but apparently two of its members were Catalans and violist is American. Its level is any international way!

I begin with the Quartet No. 5, which is most dear to me because of its first movement. After the extraordinary beginning of this opus 33 No. 5, with its "cadential", played here with the mystery that gives it meaning, which suggests that music has already been played before you even start, the quality is seized this interpretation and its characteristics: high violent, sharp speeches and fast tempo but played dolce passages suddenly with warmth and abandonment, science rubato and retained flexibility whatever the speed, finely crafted ornaments, sense of rebounding. So we impetuous and vehement interpretations, but obtained with the help of superior technical expertise. The second movement, which seems to unfold a mysterious tale demonstrates valuable qualities of imagination and the scherzo is striking.

Other quartets show the same qualities, often with very rich and seductive sounds, but also accents we can according to taste and judge when tuned a bit brutal, but some are played in tempi a little slower. Note that the Cuarteto Casals systematically practiced great recovery (repeat of development and recapitulation) in sonata form, which does not interfere in the opus 33 whose movements are pretty brief. Of course, there are no big recovery in the first movement of No. 5, because after the surprise and revelation is the apotheosis of treatment cadential formula, there would be nothing to really say.

The comparison is with Buchberger Quartet, opus 42, which adds to its double disc opus 33 (see my review), because the stylistic options are comparable, but with much more sober and less brilliantly. In some cases, we say that the modesty of Buchberger's better than extroversion of Casals and their apparent willingness to hear new. The end of the quartet No. 2, says "The Joke," suggests a rise time of experience to infinity, but provided you follow a strictly steady tempo. The Casals, practicing a decorative rubato, lack the desired effect. In the slow movement of No. 4, Haydn offers an adventurous trip and Casals superimpose their treatment flexibility, which blurs the message; For these reasons, one would think that 4 stars would have sufficed, personal choice.