Leipziger Streichquartett - Andreas Romberg: String Quartets, Vol.2 (2001)

Trained as a violinist, Andreas Romberg (1767-1821) began touring Europe at age 6 with his cousin Bernard who was a cellist. Well regarded during his lifetime, he took Haydn’s mature works as his model for his 30 string quartets. But as Beethoven became more popular, Romberg‘s reputation declined. That inverse relationship is dramatically revealed by the number of his public performances, which decreased in direct proportion to the string quartet performances of his more famous contemporary. All written in minor keys, the three quartets were composed at different times during his lifetime and follow the usual 4 movement pattern with the minuet as the 2nd section.
Likely written between 1806 and 1810 as No.1 of the Op.30 set, the B Minor Quartet opens with an elegiac ‘Allegro moderato’. Pathos is evident from the very first notes as the cello and middle strings provide swirling counterpoint and elegant interweaving lines with the lead violin. Striking unison passages delineate the extensive development section which uses the interjection of major keyed phrases as dramatic contrast. One of those unison passages brings this impressive 1st movement to a rousing close.
Restrained grace characterizes the ‘Minuetto’ with marvelous work from the cello amid softly syncopated rhythms. Shifting into a brighter B Major, the contrasting finds the 1st violin venturing high on the E string. A grand swooping transition sends the 2nd movement back to the primary theme and the somber close. Broadly elastic phrasing gives the E Minor ‘Adagio cantabile’ a genteel delicacy, one of the highlights on the disc. Featuring interwoven melodic lines, all 4 voices shine in this stunning display with the lead violin sliding into a soaring obbligato and each instrument emerging in kaleidoscopic fashion. Returning to B Minor, the gypsy tinged ‘Vivace’ spends almost as most time in E Major. With the feisty 1st violin in front, swift syncopations dot this spirited finale.
A low groaning begins the subdued ‘Allegro’ of the quartet in G Minor, No.2 of Op.16 which was probably penned sometime around 1805. With the lower strings spiraling around the restless lead voice, the melodic phrases seem to fit together like a jigsaw puzzle. A hushed ‘Minuetto’ follows. Feathery texture from the lower strings creates a filigreed fragility that the G Major trio shatters. With a restless lead violin driving the dance like middle section, the abrupt pizzicato accents are a jarring but welcome touch.
The leisurely ‘Grazioso’ is written in E Flat and structured as a theme and variations, which grow increasingly complex as the importance of the lead violin fades and the secondary voices surface. A robust ‘Rondo allegro’ concludes the quartet with the 2nd violin assuming nearly as much prominence as the first. Among the ebb and flow of subtle dynamic shifts, a vigorous fugal passages is stunning.
Published in 1802 as Op.2, No.2, the opening ‘Allegro’ of the A Minor Quartet starts with a haunting 2 ½ measure phrase, and then abrupt silence. With a slight variation, the sequence is repeated, setting up a marvelous 1st movement. The 1st violin dominates the other voices more than in the other compositions, freely moving in and out of E Major, sometimes within the same phrase. Working the instrument’s lowest register, the cello initiates a splendid passage with the viola as an echo deep within the extensive development section. Contrapuntal from the very beginning, the following ‘Minuetto’ finds the bass voice supplying the initial response to the 1st violin. The lower strings provide strong support throughout as the viola takes charge in the delightful contrasting trio, which is in A Major.
Using a shyly hesitant 6/8 time signature, the tender ‘Andante’ features each voice in an appealing series of solos. Sliding into minor from the original C Major creates a bit of drama, while the sweeping cello turn is particularly notable. Mostly employing the upper register, the sudden swoops of low notes become much more memorable. By the time the final note arrives, the slowed pace has made the triple meter barely recognizable. With a flashing violin in the lead, a brisk ‘Allegro’ returns to A Minor to close the work. Brief passages in major punctuate the development section before a burst of frenzied fiddling brings the finale to an animated conclusion.
Crisp and sharply detailed, the 2001 recording by MDG is excellent. The technical demands that Romberg places on all four voices are challenging, and the members of the Leipzig Quartet rise to the occasion by highlighting the rich textures and intricate structure of Romberg's work without obscuring the appealing melodies. While it’s regrettable that these excellent quartets have been overshadowed by Beethoven’s deserved acclaim, we are fortunate to have this superb recording.