The Mozart is a genuinely daring 
exercise in angularity and chromaticism.
All too often those qualities are 
emphasised to the detriment of the 
quartet´s lyricism and granite-firm 
structure. But the Oslos made no such 
mistake, delivering a first movement of judicious wit, intelligence and individuality.

After such impressive playing the second movement - arguably the one with most room for expressive freedom - was disappointingly laboured and the quartet´s blend questionable. But any temporary qualms were dispelled in a minuet of bounce and a truly characterful Allegro vivace to close. Following with the Grieg was a clever piece of programming. While Mozart´s quartet experiments with new harmonies within strictly formal models, Grieg´s only completed work in the medium pushes tonal and structural ideas to the limit. The opening motif is hugely ambitious, symphonic in scale but also seminal to the overall shape of the work. The Oslos understood not just its scope but also its formal significance; the reappearances of the modified theme in the second and third movements - as well as in the major mode as the conclusion to the whole work - were extraordinarily well conceived and controlled.

Combined with a thrilling yet never overblown dynamic range, rhythmic strength and a lovingly caressed second movement, it made for a truly memorable performance. In sum, thoroughly communicative and committed playing.                      

Paul Cutts

The Strad, June 2003

Back