The Strad, Andrew Farach-Colton

…

… Gould are unfailingly musical… Some of the performances really catch fire. The first movement of Op 101 maintains a white-knuckle grip without any sacrifice in emotional warmth, and both the Clarinet and Horn Trios are passionately played.

“… the Gould go for the slow burn, giving thoughtful, patient interpretations that allow them the space to excavate rich details of articulation and tone colour.”

These new recordings of the piano quartets, with viola player David Adams, adhere to the same musical values and are even more introspective than their predecessors. There’s hardly a trace of virtuoso extravagance or muscle-flexing, particularly in the popular G minor Quartet, where other ensembles put on quite a show…Tempos are leisurely throughout and the musicians dig deeply into their lines, drawing out an attractively rich, dark sound. Yet there’s marvellous clarity, too…

“… Listen to the glorious sequence at 8’33” in the first movement [of the A major quartet] for a shining example of the Gould at their absolute best – intensely expressive, with glistening tone that yields exquisite clarity… the Poco adagio is ravishing in its poise and tender feeling; the main theme seems to float along, despite the intricate figuration…”

The highlight of this set is the C minor Quartet, which is given a reading of orchestral weight and authority. The Gould don’t jump on the Scherzo’s syncopations as others do, and they keep the long chains of quavers in the finale from racing away. In fact, they hold all the tempos on an extremely tight rein, producing a feeling not just of firmness but of granitic resolve…

What a pleasure, then, to move back into the sunlight with the two string sextets, skilfully arranged for trio by Brahms’s friend Theodor Kirchner, and especially in such warmly affectionate performances. Tempos all seem spot-on here, and every phrase is imbued with character and charm.