Originally released in individual volumes, the Verdi Quartet’s Schubert cycle now can be had as a boxed set, together with the composer’s great C major quintet and relatively obscure C minor overture for string quintet. Since Hänssler’s booklet notes list no personnel, I did some internet research and came up with quartet members Susanne Rabenschlag and Peter Stein (violin), Karin Wolf (viola), and Didier Poskin (cello). Cellist Martin Lovett joins them for a fine performances of the quintet selections.
The Verdis’ excellent intonation and equitable balances tap into the lyrical, gemütlich side of Schubert’s inspiration, abetted by their first violinist’s sweet-toned, slightly laid-back temperament. This mainly applies to songful, medium-tempo movements such as the G minor D. 173 Andantino, D. 94’s Andante con moto, the “Rosamunde” D. 804’s finale, and the “Death and the Maiden” variations (the D minor D. 810’s famous second movement).
They also are good at conveying and sustaining music tinged with darkness and introspection; listen to the single-movement C minor quartet D. 103 or to the disembodied tremolos throughout the first movement of Schubert’s G major D. 887. However, the Verdi Quartet doesn’t quite match the expressive and timbral possibilities resulting from the Auryn Quartet’s superior textural finesse and wider palette of articulations. While the Verdis rightly play up the contrasts between the E major D. 353 Menuetto’s declamatory unisons and light descending chords, the Auryns achieve this without letting the tempo run away from them. And if the Verdis’ genial, relaxed way with the C major D. 46 Finale falls easily on the ear, the Auryns’ brisker pace and less predictable inflections really make you listen. Many other examples substantiate my overall preference for the Auryn Quartet’s Schubert cycle, yet many ensembles would be happy to achieve the Verdis’ “second best” standard.
