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American Record Guide
'[The Intermezzo] is an interesting, charming movement that stands well on its own.'
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'...a performance that sounds absolutely wonderful...The deeply felt lyrical passages with which this music abounds, in this performance should melt the stoniest of hearts...'
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'The playing articulates with great subtlety the Romantic abundance of Bruckner's slow movements-the Adagio to the quintet is especially gorgeous-while not shying away from the bizarre and kinky writing in the scherzos and finales and in the Intermezzo. Linn's recording and the acoustic of the recording venue are ideal.'
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'The lucid performances by the Fitzwilliam String Quartetmake the music immediately intelligible and appealing. Joined by violist James Boyd in the Quintet, the ensemble produces a warm and radiant sound that dispels any worries of Brucknerian complexity, and even in the pensive Quartet, the playing is ingratiating and quite evocative of Schubert, a key influence in early Bruckner.'
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MusicWeb International
Recording of the Month: '...their hushed close to the Adagio of the Quintet is exquisite.'
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Fitzwilliam String Quartet - Bruckner: Quintet & Quartet - Limelight Magazine

19 April 2016
Limelight Magazine
Philip Clark
5 Stars

I've always had a high regard for Bruckner's String Quintet in F Major, the work he wrote in the afterglow of his Fifth Symphony, and every bit as symphonic in scope and ambition. Alongside the Quintet, the Fitzwilliam String Quartet has included the String Quartet in C Minor, which Bruckner composed when studying under Otto Kitzler, and an alternate view of the chamber music path he might have followed presents itself. Young Anton revels in inhabiting the compositional fabric of Mozart, Schubert and Mendelssohn. The tone is light and playful; but ultimately Bruckner's sonic imagination drove him elsewhere. 

Adding guest violist James Boyd, the Fitzwilliam Quartet performs with gut strings and period instruments configured to exactly the pitch Bruckner himself would have expected. Vibrato is expertly controlled throughout, and although the medium might cross into unfamiliar terrain, the sound and motivation behind this music is pure Bruckner.

Beginning in the midst of an unfolding harmonic argument, the fulsome and fine-grained blend of the Fitzwilliam approach sings proudly. Phrasing breathes luxuriously and is never allowed to tip into the red heat of faux-Romanticism. The extended Adagio - where Lucy Russell's violin soars towards the heavens - could well be one of Bruckner's most serene creations, while the first movement trials key relationships that turn up again in the Ninth Symphony. To love Bruckner is to love this CD.

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