The Fauré Quartet offers a very attractive pairing of Brahms’ Op. 25 & Op. 60 piano quartets. The Op. 25 (Piano Quartet No. 1) sounds so fully fleshed-out that you wonder why Schoenberg felt obliged to arrange it for orchestra. His complaint was that the piano played too loudly for him to hear the string instruments–not so in this performance. All instruments sound with clarity and detail, even with the pianist’s assertive and emotive playing. (The recording’s spacious acoustic and expertly judged balances may have much to do with this.) The Fauré’s performance emphasizes the music’s rich lyricism (particularly in the slow movement) but also its lively rhythms–most prominently in the wildly dancing finale, here done with impeccable style and engaging fervor.
Though Piano Quartet No. 3 is a much later work, it contains just as much fire and youthful vigor as Op. 25, qualities successfully reflected in the Fauré’s performance. Again, the rich Brahmsian timbre and heartfelt playing seduce, especially in the Andante, with its beguiling solo cello theme. The wide-ranging recording effectively captures the explosive dynamic contrasts in the first movement, while the Fauré’s impassioned artistry enlivens the spiky scherzo and pensive finale. This is as fine an album of Brahms’ piano quartets as you could want (even without Brahms’ rather sober Op. 26). Highly recommended!
