The Maxwell Quartet makes the case for using a mix of instruments dating from 1700 to 2017 in its latest recording that combines Haydn string quartets with Scottish folk music
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When approaching the string quartets of Joseph Haydn, how does the age of the instruments used impact the sound? Is it ideal to commit using the ingrained, developed sound of venerable 18th-century instruments, or opt for modern instruments, with the sonic possibilities they offer?
The Maxwell Quartet makes the case for using a mix of old and new instruments in its latest recording of Haydn’s op.77 string quartets paired with Scottish folk music. The quartet members, who are violinists Colin Scobie and George Smith, violist Elliott Perks and cellist Duncan Strachan, have been fortunate enough to benefit from loans of fine old instruments, but also play on modern instruments by Scottish makers.
Having tried various combinations of old and new instruments over the years, the Maxwells highlight the various factors that play a part in what works, including projection, colour range, registral strengths and overall stability. After experimenting, they found a combination that reflects the ethos behind their latest album, as well as previous creative output, which is: ’You cannot understand classical string quartets without first understanding what it is like to play folk music’.
The ensemble’s instrumentation can almost be seen as a ‘sandwich’ which sees the outer players performing on modern instruments, while the inner players perform on old instruments. First violinist Scobie plays on a modern violin made by Roger Hansell in 1990 and cellist Strachan plays a 2017 David Rattray cello; a copy of an instrument by Guarneri ’filus Andrae’ that produces a clear and strong sound, providing clarity often needed in the bass lines of Haydn quartets.
Meanwhile, the inner voices are represented with second violinist Smith playing an early 1700s David Tecchler violin, described as fitting very well within the second violin’s role in the quartet, providing earthy support and great warmth where needed; and an 1852 Vuillaume viola played by Perks, on loan from John Sanderson. The viola is described as having a direct and compact tone quality, perfect for coming through the texture, but also letting other voices through when needed.
’We found this combination to be ideal for our recording of Haydn string quartets and folk music,’ said the quartet. ’The richness and depth of the older instruments in the middle voices provides a great body to the sound, and the modern instruments on the upper and lower voices have great clarity and directness, while still providing plenty of warmth.
’We feel very lucky to be in a position where we can try different combinations of instruments to see what suits us best. It’s also been a great journey of discovery and fascinating to realise that new and old instruments can bring equally important benefits to a quartet’s sound. Our combining of different genres is something that has helped us understand this, and the combination of new and old is something that works for us conceptually as well as sonically!’
The Maxwell Quartet performs at Kings Place, London, on 8 February 2025. Joseph Haydn - String Quartets op.77 & Folk Music from Scotland is out now on Linn Records.
Read: Opinion: Making the most out of chamber music coaching
Read: How Scottish folk music and Haydn have more in common than you think: Maxwell Quartet
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