This most obvious of couplings has attracted many releases, and from early mono days. The Quartetto Italiano first recorded the Debussy on 78s (Durium SA 109/12—nla) and they went on to make a speciality of the work. Their Philips LP of the late 1960s has long been admired and justifiably so. Not only is the recording quite adequate, but the performances have a degree of maturity that manifests itself in tonal variety, refined phrasing and a refusal to slot the music into any stylistic category. The Chilingirian (EMI Eminence), equally polished and musically gripping, take a more overtly romantic course, the opening movement of the Ravel being reminiscent of Gaspard de la nuit in mood. they luxuriate in Ravel's testures to a greater extent than the other two.
These two works were written only nine years apart, the Debussy in 1893 and the Ravel in 1902/3, and it is interesting to see how the Chilingirian choose a more retrospective approach than do the Alban Berg Quartet. The latter are exploratory, highly spontaneous and more than the other two succeed in allowing the listener to participate in the unfolding of the music.
So far as technique is concerned, the very complex and demanding scores are realized in playing of the highest standard. Csaba Erdelyi's viola-playing in the Chilingirian is a constant source of delight, but with the Alban Berg one is less aware of individuals. The Quartetto Italiano's recording quality cannot compare with the two new discs. The Chilingirian has a very resonant acoustic, which I feel is a little inappropriate in the two scherzo movements with their pizzicato passage-work. The Alban Berg Quartet's recording is of demonstration quality and has a very wide dynamic range. The analogue LP cannot be much inferior to the CD, which I have not heard—it has a stability that does full justice to these immaculate and challenging performances.'