A new release by Eudora Records always demands attention. This time we have a major work ‘embraced’ by world premieres. Two are by a popular composer (Boccherini), and another is an arranged version by an 'unknown' musician from the early Middle Ages (Flecha). All three are chosen for the traditional logic, as suggested and pursued by the players of the Spanish Cuarteto Iberia. ‘Traditio’, as it evolves with changing perceptions. This is probably best illustrated by comparing the evolution of Mozart’s popular Fourteenth String Quartet.

Indeed, listening to this new version, I became once more aware that for players and listeners alike, musical taste has changed over time along with changing human behaviour and way of life. Seniors among us will probably agree that over half a century ago, Mozart string quartets were played differently than they are now. Precision and virtuosity were the main characteristics, musicians scrupulously respecting every composer’s marking. Precision and virtuosity are still de rigueur, but interpretations, including markings, have been reconsidered and newly inspired by factors such as contemporary taste, fashion and common acceptance.

Comparing four different versions, released over the last thirty years or so, all lauded by the international press, a transition in performance practices is noticeable. For many, the standard was the Alban Berg Quartet, recorded by EMI in 1989 (LP). Their rendition of K 387 is one of perfectionism to the letter. Mozart as it ought to be played. At least in those days. However, Le Quatuor Mosaïques (Höbart, Bischof, Mitterrer, Coin), Astrée Auvidis, 1991, one of my cherished RBCD ‘oldies’, already shifted the trend to newer ideas. Whilst remaining largely within the composer's intentions, they added a freer dose of artistic mastery, awarded in France with ‘un événement 4 Telerama ffff’s’. The Hagen Quartet, released in 2015 by Myrios Classics, is another noteworthy recording by four musicians seeking to liberate themselves from commonly accepted formats by pushing their reading into the realm of romance. A glowing account shedding a new light on this ‘early classical’ composer that does compassionate justice to the Quartet’s nickname ‘Spring.’ High on my list as well. A pity that Myrios stopped producing SACDs

In this new Eudora Classics release, I discovered an interpretation of Mozart’s String Quartet K 387 along similar lines. Although fast-growing throughout the Spanish musical landscape, I must admit that Cuartetto Iberia is new to me, and perhaps to many readers as well. I was astonished by the outstanding mastery of each of its members. They follow in the footsteps of the Hagen family with an even more romanticised version. I don’t know what old-fashioned scholars make of it, but I, for one, do like it. Cuarteto Iberia demonstrate that Mozart, like other great composers - Bach springs to mind - can be ‘shaped’ anew in the ‘traditio’ of time without losing the integrity of the score.

By the same token I see it as a great compliment to the four members of the (young, 2018) Cuarteto Iberia, Marta Peño (violin), Luis Rodríguez (violin) Mario Oltra (viola), Arnold Rodríguez (violoncello), for having the musical feeling and professional capacity to bring the ‘active transformation’ to life as though it had always been the intention of Mozart to pave the way for ulterior ‘enriched’ interpretation, or, in their words: “….continuing an interpretative tradition from a contemporary awareness”.

Although Cuarteto Iberia, playing on gut-stringed (copies of) period instruments, shape tempi and dynamics largely in line with the Hagens, they have the advantage of superior engineering. If you like Mozart with a modernist-romantic (Mediterranean) slant, this newcomer is a worthy alternative, making one eager to get the other five of Mozart’s Haydn Quartets played by the same forces.

As for the rest of the programme: The two opening Quartetinos by Boccherini, never before recorded, are pearls in a field of grey stones. I’m not a great fan of this Italian-born composer; in my opinion, too much producing for the millions and often on one sheet with endless repeats. But here, I have to correct that simple-minded view. These are beauties, thanks also to the performers.

The final piece is an oddity that I would not recommend as a stand-alone item, though in the context of the programme’s spiritual concept, it brings an early medieval work to our attention in a remarkable, readjusted way. As it turns out, these musicians prove to be skilled percussionists and good singers as well.

Blangy-le-Château, Normandy, France.

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