"...Overall these are interpretations with a strong profile – the music always provokes a response from the players, beyond the mere presentation of what is in the score. The Doric can even be dramatic, as if aware that this is the period of Sturm und Drang (“storm and stress”) and the remarkable year of Haydn’s splendid symphonies numbers 45-47. They do not assume that this music can somehow play itself if one just attends to the score. Not everyone approves of this – BBC Music Magazine, while generally admiring, refers to an “over-expressive approach”. Conversely, Harriet Smith on the BBC’s CD Review broadcast lauded that very freedom and expressiveness, finding now that some admired predecessors to the Doric can sound a bit too “well-mannered”. For me such music should be strongly characterized, even if that involves some risk-taking in tempi, longer pauses, stronger attacks, and altered dynamics. So I can certainly enthuse about this release to those not already wedded to another recording ..."
Roy Westbrook - MusicWeb-International.com - 18 February 2015
"...Chandos has supplied top-of-the-line sound. It sounds as if the players are in the room with you... I reject the aesthetic underlying these readings but would be surprised if this did not turn out to be one of he best and most enjoyable releases I get to review this year."
Stephen Chakwin - American Record Guide - March/April 2015
***** (Exceptional Album)
Massimo Viazzo - Musica magazine (Italy) - March 2015
“… The Doric players pay him [Haydn] proper respect, taking him seriously but also keeping matters light-hearted, which, for much of the time, he is. It makes for an attractive set of performances, recorded with an agreeably close acoustic. The two-disc set includes a booklet with expert and excellent notes by W Dean Sutcliffe.”
John Warrack – International Record Review – November 2014
Performance *** Recording ****
“…The Doric Quartet, making sparing use of vibrato, play with much sensitivity. Their slow movements, in particular, are beautifully done. So, too, are the three whispered fugal finales, as well as such pieces as the deeply expressive opening movement of the F minor Quartet, Op 20 No 5…”
Misha Donat – BBC Music magazine – January 2015
Critics Choice – Chamber
Nalen Anthoni – Gramophone magazine – December 2014
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