I expressed some minor reservations about this same group’s previous pairing of Bridge’s Second and Third Quartets (Meridian, 8/97). As before, their playing is thoughtful and dedicated, if not quite as characterful or cogent as one might wish. Certainly, in the marvellously bracing Fourth (1937), it is the Brindisi Quartet on Continuum who bring the greater intellectual sinew, textural focus and fiery intensity to Bridge’s questing inspiration (I persist in finding a hint of caution about these newcomers’ approach to the the challenging opening Allegro energico). Honours are perhaps more evenly divided in the lovely First Quartet of 1906: if the Brindisi achieve the greater intimacy of feeling in the profoundly eloquent Adagio molto slow movement, the Bridge are marginally more delicate and playful in the winsome third movement. Elsewhere, I find myself craving more in the way of interpretative guile and corporate personality; the Brindisi evince a sense of teamwork not quite matched by Meridian’s honest, hard-working group.
One would give much for a new recording of the Fourth by the Endellion Quartet to set beside their magnificent Virgin Classics recording of the Third (9/91 – nla), and I still treasure an old Argo LP of the Allegri Quartet’s pioneering coupling of Nos. 3 and 4 (3/73 – nla; to the best of my knowledge, never reissued in any format). It would also be nice to think that one of our more promising young ensembles – the Sorrel or Kreutzer spring to mind – could in time be persuaded to tackle this enthralling, consummately crafted repertoire. For the time being, however, the present issue is sufficiently well played and recorded to earn a recommendation, albeit not in preference to the Brindisi (whose 1991 survey of all four quartets similarly occupies two separate full-price CDs).'