Over the past decade or so, Naxos has been filling significant catalogue gaps on behalf of Mario Castelnuovo-Tedesco, including this first integral release of his three String Quartets. Indeed, the first two quartets receive their recorded premiers here. Why has so sunny, abundantly tuneful and skillfully wrought Quartet No. 1 in G Major Op. 58 from 1929 been virtually neglected for nearly a century? The central “Strimpellata” movement holds special interest in how that the disarming themes supported by a lilting pizzicato accompaniment soon traipse into dark, harmonically unsettled territory. Castelnuovo-Tedesco considered his 1948 Quartet No. 2 to be among his best works, and he was right. Again, the central movement stands out, where the strings are muted throughout, and the violins play spooky long lines in parallel fifths. The finale features an inventive tarantella that alternates between earthy celebration and abstract fugal textures.
One doesn’t need to know the 1964 Third Quartet’s autobiographical and programmatic subtext to appreciate its rich variety of mood and character and dazzling workmanship. An example of the composer’s ability to generate tension through minimal means occurs towards the end of the first movement (around 5:17), where gentle cello pedal points hover underneath seemingly simplistic violin melodies while brief alternating arco and pizzicato phrases dart in and out of the texture. In each and every movement, the Quartetto Adorno prove more assertive, energetic and dynamically contrasted compared to the Ensemble Mark Rothko’s world premier recording on the Da Vinci label. Likewise, the Adorno’s supple ensemble, impeccable intonation and unerring stylistic instincts create a reference worthy performance tradition for the first two quartets. Frank K. DeWald’s excellent and informative annotations add value to this important release, not to mention Naxos’ world-class sonics. Highly recommended.
