Quite, quite muscular and very, very expressive, the second volume of the
Mandelring Quartet's cycle of the complete quartets of Schubert puts to rest the rumor that Schubert was a wimp for once and for all. The
Mandelring Quartet has a hard tone in fortes, a sharp edge on its ensemble, and a stiff point to its attacks that banishes the notion that Schubert wasn't as strong as the brawny Brahms and Beethoven. Rarely has the opening Allegro ma non troppo or the following Andante of the Rosamunde Quartet sounded as much like heroic middle-period Beethoven or burly middle-period Brahms. And, above all, rarely has Schubert sounded so vehement. The power of the sonorities of the opening Allegro con fuoco of the earlier E major comes nearly to Beethovenian violence at its climax. Whether this works depends on the listener. For some, the muscularity and expressivity of the
Mandelring's playing will be convincing. For others, it might seem very well done, but perhaps more than a bit overdone. Audite's sound is warm, round, and close.