Scandinavian duo’s delightful works on a par with Mozart

When it comes to string quartets, the difference between Mozart and the Scandinavian duo of Sibelius and Grieg isn’t just musical form and a couple of hundred years.

Mozart was following an obligation to pursue this genre, carrying on from the “father of the string quartet” Joseph Haydn.

While Mozart’s output numbered 23, both composers only managed the one.

But this hasn’t left us shortchanged. Quite the opposite, because each work is a masterpiece, of which a follow-up might have been an anticlimax. Both the Sibelius D minor quartet and Grieg’s G minor work are seldom heard, so we should thank the Engegard Quartet for introducing us to two real gems.

Dundee’s Marryat Hall was the venue for this unveiling, and the ensemble opened with a triedand-tested work, Mozart’s K421 D minor quartet. Little did we know that this would be overshadowed by the other works, and to eclipse one of Mozart’s finest chamber music works is some achievement.

Then came Sibelius. There was enough thematic content in the first movement alone to satisfy the most demanding concert-goer, and the composer goes even further with an adagio that was passionate and atmospheric, and the perpetual motion of the finale was a wonderful exhibition of energy and vitality. One usually regards Sibelius as first and foremost an orchestral composer. This work ensures his wonderful capacity in the chamber music world.

Similarly Grieg. He can mix moods as well as any other man – the opening movement was a prime example of this – and this alternation between ferocity and tranquillity is key to this work’s undying charm.

Add a Romanze with contrasting agitato theme and a finale that skipped along like a scurrying dervish and you have the full package. Two new works that ticked every box possible.