The Tempera Quartet's laudable survey of Sibelius' music for string quartet comes to a splendid conclusion with this recording of works penned between 1890 and 1922. Though the genre had been a particular favourite of the composer's during his formative years creatively (appearing mostly by the age of twenty-five and prior to the First Symphony of 1892), here we also witness his highly original and magnificent return to the medium following his establishment as one of Europe's finest symphonists of the early-twentieth century.
This homecoming of sorts was manifested in the String Quartet in D minor, Op. 56 (1909). Written between his Third and Fourth Symphonies, the work is more commonly known by its epithet Voces intimae - words that Sibelius himself placed above the three eerily tranquil E-minor chords in bars 21-22 of the central Adagio di molto. It is full of the composer's renowned imagination and resourcefulness, with passages verging on neo-baroque and sound effects that foresee the likes of Bartók and Shostakovich.
The Tempera Quartet states their intent from the outset, with a sensitively worked call-and-response between first violin and 'cello in the opening movement. An excellent sense of direction is maintained throughout - despite the music's constantly undulating tempo - as is an impressive intensity of sound, particularly in the majestic, chorale-like conclusion. The subsequent Vivace - thematically related to the previous material and barely two minutes in length - is, effectively, tacked on to the end of this opening gambit. Its demonic, moto perpetuo semiquavers are taken at breakneck speed; indeed, sporadic moments of untidiness are suggestive of a slightly overzealous pace. That said, the effect is simply intoxicating.
The expressive nucleus of this quartet lies in its slow movement. From the heartfelt melody at its beginning one senses an awesome depth of feeling and emotion, both from the music itself and from the performers. The Voces intimae chords are, disappointingly, somewhat tentative, though this is a distant recollection upon hearing the riveting quasi-fugal passage at the work's core. The ensuing transition back to the main theme is utterly seamless.
The fourth movement never seems to acquire the grittiness indicated by the composer's Allegretto (ma pesante) instructions. The exchanges between first violin and 'cello (which evoke the pseudo-rhetorical first-movement introduction) are often hurried or undercooked. The overflowing effervescence of the Allegro finale, however, obliterates all that has gone before, as the Tempera Quartet cultivates an aura of restlessness which is quite breathtaking. Impassioned playing and excellent intonation from all four musicians mark the entire performance, bringing the quartet to a rousing close. A world premičre of Sibelius' preliminary ending - a less decisive effort replaced before the work was submitted for publication - is also provided.
Composed nineteen years earlier, the String Quartet in B-flat major, Op. 4 (1890) also has much to offer and is given a most worthy account by the Tempera Quartet. The second-movement Andante sostenuto - with its entrancing, folk-based principal theme subjected to ever-increasing levels of complexity - is the pick of the bunch. The Presto that follows is also superlative, with delightfully lyrical and rhythmic scherzo sections sandwiching a dark central episode, in which a haunting viola melody is accompanied by scampanatino violins. The outer movements are a bit more hit-and-miss. For example, the second subject in the opening Allegro lacks directional clarity, whilst the final return to B-flat major in the fourth movement lacks any real significance.
Two further gems of Sibelius' quartet output are included on either side of these major works. The Adagio in D minor (1890) was written shortly after Sibelius had returned to Finland upon the completion of his studies in Berlin. An intriguing and often adventurous exploration of quartet texturing and harmonic linguistics via a set of variations, it perhaps represents the composer's need to break away from the academic rigidity he experienced whilst in Germany. The Tempera Quartet gives a tender and beautifully sustained account, though the final statement of the principal theme lacks the poignant insight desirable at the close of such a moving work. Sibelius' final statement for string quartet was the Andante Festivo (1922), a solemn hymn in G major which has since been arranged for countless ensembles. Once again, a deeply concentrated rendition is provided, the only reservation being that the repetitive phrases could have been subject to greater inventiveness of interpretation.
Though they occasionally miss opportunities to bestow even more cherished performances of these works, the Tempera Quartet are reliable, praiseworthy advocates for this music. This final instalment comes highly recommended for string quartet and Sibelius enthusiasts alike.