The Op 76 set of 6 string quartets marks the summit of Haydn's chamber music. Composed between 1796-1797 and dedicated to Count Erdody, it shows Haydn at the absolute peak of his powers, creatvity and imaginations. When the English historian and musician Dr Charles Burney first heard the quartets in 1799, he came out with these paens of superlatives which the works fully deserves: "They are full of invention, fire good taste, and new effects, and seem the production, not of a sublime genius who has written so much and so well recently, but one of the highly cultivated talents, who has expended none of his fire before."

The quartets receive superb performances from the Linsays String Quartets, the leading British chamber music ensemble of our day. Indeed, they do full justice to Haydn's creative imagination, visions, breaths and humour. They may not possess the tonal sheen and glamour of their counterparts, say the Alban Berg Quartet, yet they illuminate the score from within and constantly penetrate to the heart of the music. The largo of op 76 no. 5, the real core of the whole set, serves as a template for the rest. The Lindsays faithfully observes the cantabile e mesto, giving the movement a rapt intensity and depth of feeling, yet never ever indulging in sentimentality. The same could be said of the famous 'Gott erhalte Franz den Kaiser' poco adagio cantabile from the 'Emperor' quartet. Taken the set as a whole, the first movements breath with majestic gravitas, the slow movements sings. The minuets truly dance, exuberantly and sometimes rustically. The finales are either invigorating (as those of nos 2, 5, and 6) or given mesmerizing pathos when required (as those in nos 1, 3, and 4). The music sound fresh and newly-minted, as though the listener are experiencing them for the first time.

The Op 76 set has really fared very well on compact disc in recent months, not just do we have these wonderful and endearing performances here, the leading period instrumental group Quartuor Mosaiques on naive astree (E8665) has also offered their unique, distinguished interpretation and insights to these evergreen works. Haydn lovers are indeed spoilt for choice.

Opus 76/1 is probably less often played than #2s 2 and three. There is not a remotely weak quartet in the opus.

Both #s 1 and three are a bit sunnier than the D Minor #2, which is darker and more emotionally complicated. It harkens back the Haydn's Sturm und Drang period in which he wrote three great middle period symphonies in minor keys: #s 44 ("Trauer"), 45 ("Farewell") and 49 ("La Passione"). The opus 76 are more mature, complex and

multi-dimensional than these three, however. All of them are quite beautiful and exhilarating // the London Symphonies and final six Masses. Only two and one half quartets (Opus 77/1 and 2 + Opus 103) remained to be written. Of the 76/1-3, my slight favorite is #3. It is a bit bigger/lengthier than #s 1 and 2 and, like #76/5 features a long, beautiful

slow movement (with variations) based on the Austrian national anthem.

The Lindsays, as usual, plumb the depths here, capturing all of this trio's facets. They face and more than

meet it. Their peers, I believe, are the Amadeus and Tokyo Quartet in #s 1-3, The Emersons in #s 2 and 3, and the Janacek in #2

Haydn: String Quartets Op.76 is a very nice recording played by the String quartet group known as The Lindsays on this ASV Ltd. recording from 2000. They have written very interesting, well-written and informative liner notes. The booklet is available in English, French and German. I agree with BBC Music Magazine and I too think this is a very rewarding performance to listen to. Highly recommended indeed. 5/5.