For a time, Tchaikovsky’s string quartets seemed unjustifiably consigned to the far corners of the repertory. While they may not be exemplars of Beethovenian classicism or cogency, their own particular qualities of melodic profligacy, rhythmic originality, and dramatic argument make a strong case for their wider exposure. If ensembles can regularly program Debussy and Ravel quartets, there’s no reason why they shouldn’t do Tchaikovsky. The New Haydn Quartet clearly has no doubts about the quality of the music, approaching it with all the intelligence, musicianship, and enthusiasm one would bring to quartets by Beethoven, Bartók or Dvorák. Quartet No. 1’s first movement second subject receives a loving caress at a slightly slowed tempo, as does the wistful violin solo in the beautiful Andante Cantabile movement. One of Tchaikovsky’s most telling characteristics is his unique ability to build up sequences of almost unbearable tension, as he does in Quartet No. 2’s first movement with its spiraling chromatic melodic ladder. The New Haydn players shirk not a bit from this purple passage, infusing it with a steely edge and power more more typical of works such as Shostakovich’s quartets. They are equally committed in the anguished slow movement, here conjuring up the world-weary spirit of Eugene Onegin, while they toss aside their tear-filled hankies and kick into high gear for the dancing finales of both works. The Borodin Quartet on EMI may be more idiomatic and powerful in some respects, but their harsh Melodiya recording is no match for Naxos’s beautifully lush sound. This release is self-recommending, and a vital addition to the Tchaikovsky discography.
