Sibelius composed three string quartets prior to his well-known Voces intimae in D minor. The first two are the product of Sibelius’ student years, and they sound nothing like the mature composer we know and love. The E-flat quartet (1885) follows a strict classical formula, taking Haydn as its main example, while the A minor (1889), with its heightened drama, reflects Sibelius’ study of Beethoven’s Razumovsky quartets. Interestingly, the scherzo, with its folk-influenced melodic material, suggests Dvorák. The B-flat quartet from 1890 is one of the first works to which Sibelius assigned an opus number. Again there are traces of Dvorák-style melodies, but at last we hear indications, particularly in the bracingly clear textures and Nordic sonorities, of the familiar Sibelius–albeit that of the tone poems rather than the symphonies. The Sibelius Academy Quartet approaches each of these works from a classical perspective, resulting in satisfyingly energetic, clean-lined performances.
Voces intimae was composed in 1909 between the third and fourth symphonies, and it shares some of the latter’s ethereal nature. This quality is fully exploited in the Gabrielli Quartet’s mystical performance, while the Melos Quartet’s more robust rendition presents a more solid, earthbound work. The New Helsinki Quartet plays with high energy and crisply articulated rhythms, but, except in the Adagio molto where the Helsinki players opt for a very slow tempo, its phrasing is noticeably less imaginative than either the Gabrielli or the Melos. The recorded sound for both ensembles represented here tends to be over-bright but remains clear and well balanced. A notable release then–not so important to our understanding of Sibelius, but a powerful illustration of how genius transcends its influences and goes on to blaze new paths.
