The first thing one notices about this disc is the attractive sound, rounded yet detailed; the second is that the playing of the orchestra is stylish; last but not least, the soloist's first entry tells us that he, too, is a fine player. Rainer Kussmaul's name was unknown to me, but a note on the jewel-case says that he is about to become leader of the Berlin Philharmonic Orchestra. He produces a lovely sound on what sounds like an excellent instrument, and phrases gracefully: altogether this is most enjoyable Haydn playing.
Not many string quartets play on period instruments, perhaps because the public for this music is not familiar with their sound, but also because much of the string quartet repertoire goes beyond the period that these instruments usually cover. The Festetics is one of the few top-rank quartets that does use such instruments, and has focused on the late 18th and early 19th century repertoire - Haydn, Schubert and Mozart - though they have also recorded works by other composers, such as Liszt.
There is a noticeable difference in the sound of this ensemble when comparing it with other quartets. The instruments are more trenchant, the sound is more limpid, and the texture less homogeneous. It is far easier for such an ensemble to create a sound of four instruments interacting, as opposed to a unitary sound that is a mixture of those instruments.
At last there is a Haydn Stabat mater within easy reach. The piece is seldom performed and even more rarely recorded, and this despite the fact that it contains some of the composer's most rich and deeply felt writing. One of the few works not written to order (Prince Nikolaus Esterhazy was less than keen on encouraging the sacred duties of his Kapellmeister) the Stabat mater is also one Haydn himself grew to respect highly, and Trevor Pinnock's performance makes it clear why.
Haydn wrote the six quartets of Opp 54 and 55 in 1788, by now a celebrated composer across Europe and still opera Kapellmeister at Esterházy. These period instrument players, whose very name declares their affinity for Haydn, excel in the latest in their Hyperion series. Ever spry in fast movements, faultless in dexterity and intonation, they find a special warmth of feeling in the slower moments: the songful Adagio Cantabile of Op 55 No 1, the puzzling, melancholy Andante of Op 55 No 2, the dark, hymn-like first bars of Op 54 No 2’s Adagio, out of which the violin soars in almost improvised, bluesy reverie. Too many pleasures to enumerate. Try for yourself.