The A minor Quartet dates from 1921 when Moeran was a pupil of John Ireland at the Royal College of Music. According to Philip Heseltine, the present quartet, along with the evocative symphonic impression entitled In the Mountain Country (1921) and gorgeous First Rhapsody (1922), form a triptych which betrays “the influence of the surroundings in which he passed so many of his impressionable years – the grey skies and flat misty landscapes of the Eastern counties”. It is an enormously fluent, folk-song-inspired creation, full of Ravelian poise; indeed the last movement of the three (an exhilarating rondo) owes much to the finale of the French master’s F major Quartet. Not surprisingly, Moeran himself always retained his affection for this piece, and the Maggini Quartet accord it wonderfully assured, flexible advocacy (more so, in fact, than do the otherwise sympathetic Melbourne Quartet).
Discovered among Moeran’s papers by his widow (the cellist Peers Coetmore) after his death in 1950, the E flat Quartet appears to be another comparatively early effort. It is cast in just two movements, the second of which is an ambitious linked slow movement and finale, full of ambition and tender fantasy, and containing some truly magical inspiration along the way (try the haunting Andante episode beginning at 6'10'', where time really does seem to stand still). Perhaps this movement’s intrepid thematic and emotional diversity engendered sufficient niggling doubts in Moeran’s mind for him to suppress the whole work. Certainly, in a performance as convinced and convincing as the one here, its melodic fecundity and unpretentious, ‘out of doors’ charm will endear it to many.
That leaves the masterly String Trio of 1931, which, in its impeccable craft, rhythmic pungency (the opening Allegretto giovale boasts a time-signature of 7/8), gentle sense of purpose and unerring concentration (above all in the deeply felt slow movement), represents one of Moeran’s finest achievements. Aficionados will no doubt have already purchased Mike Dutton’s superb restoration of the 1941 recording with Jean Pougnet, Frederick Riddle and Anthony Pini (a treasurable display from, as LS put it in his review, “one of the finest combinations of string players this country has ever produced”). The members of the Maggini Quartet reveal a similar relish for Moeran’s exquisitely judged part-writing and give an admirably polished, affectionate rendering, if (inevitably) without quite the patrician elegance and characterful tang of the earlier one.
Excellent sound and balance throughout. I do urge you to investigate this enterprising, hugely enjoyable collection.'