Scottish-born German Romantic composer Eugen Francois Charles d’Albert [1864–1932] wrote just two string quartets. I am going to discuss the Second Quartet, in E-flat major, Opus 11, which is in four movements.

The work commences with a lush background of strings. Sensitive harmonised violin lines set the mood, allowing the cello to step forward and then to be the predominant instrument. It first complements the violins, then gives way to them as a slightly sparser sound emerges. New melodies are formed and are harmonised in an almost empathic way; such is the unity of the violins. Now they are set free and the intensity soars, with cello underpinning dynamic violins. A crescendo gives way to another melodic cello passage, and some harmonised thrusts interrupt the melodic flow. A recapitulation of the opening melodies is the beginning of the end for this movement, and it concludes on a sustained chord; the cello has been particularly prominent.

The following movement, marked allegro, has a slight abstraction in the opening, featuring a whirring viola, that is, in a constant rhythmic pattern. The rhythm is taken up by the violins as they pursue each other and the mood settles with a pizzicato interlude. A change comes over the piece with the entrance of the cello as it expresses freely, and the violins move into a skipping passage with strong cello lines in the background. The cello repeats a violin melody to initiate another change. The violins fashion new melodies and it comes to life again. The former whirring can still be heard and the cello ignores this, creating warm motifs that complement the violins. Nearing the end, it is set free again and it leads the ensemble into a chord to finish.

The third movement is an adagio and a violin and cello fashion the opening feeling. The cello plays long tones for a time, and then drops back into single notes. The next section has it pizzicato and walking, jazz-like, as the violins contemplate a soulful mood. The composer certainly has a feeling for the cello as it constantly adds to the conversation. Out of nowhere, a forceful, loud passage ensues with strong rhythmic thrusts. This leads into a slightly rhapsodic feeling and the thrusts are repeated. The cello underpins this feeling as it builds to a brief crescendo. Now we have the sweetest moment of the piece thus far, with the violins dancing lightly upon a warm cello carpet. A series of descending melodic lines changes the mood and the cello has the last say as it leads to a gentle close.

The final movement leaps into life with twin violins surging. They give way to the cello momentarily and dance harmonically around the mood. A pause brings some reflection with both violins intertwined. This movement now becomes high on energy as the violins swoop over the driving cello, which mimics their melodic movement. There are many sections of violin and cello harmonised melodies. Now it is time for the cello to introduce a melody and it steps forward with authority, before being subsumed back into the ensemble. A peaceful passage follows with the occasional cello statement leading the violins. The violins race and an extended harmonised violin melodic line leads to a magnificent conclusion.

The review CD, titled d’Albert: String Quartets Nos. 1 & 2 by the Reinhold Quartett on the CPO label is freely available on Amazon US and UK, as is another promising looking version by the Sarastro Quartet, which is cheaper. Both versions are on Spotify, YouTube and earsense.

Listenability: A fine Romantic quartet – features terrific cello.