The Fitzwilliams are irremediably associated with Shostakovich, recognized on the international scene after having recorded the complete string quartets of the Russian composer (Decca). What a surprise to find them today at Schubert, moreover on period instruments and gut strings! In a discography that sails on the summits, how does this new version of the “Rosamunde” and “Death and the Maiden” Quartets stand out? As against the daring and risk-taking of the Artis (Sony), to the controlled momentum of the Berg (Warner), the British Quartet opposes a harsh and contrasting romanticism: this wide dynamic palette echoes a Schubert who wanted, with these two works, to “clear the flight towards the great symphony”.

The performers here make the illumination play, swinging between mystery, worry and melancholy. Despite a little acidity in the high register, the texture captivates, suggests individualities and unfolds beautiful lines. Too fluid? The slightly incisive articulation flattens the edges and conceals the inner voices. A few awkwardly adjusted transitions finally weaken this reading, despite its poignant character and its sense of narration.