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These performances have won deserved renown. However, with recordings dating, as they do, from between 1966 and 1973, some allowance inevitably has to be made for the sound. To judge this for yourself, listen to the opening of the D minor Quartet, K421, recorded in 1966 along with its five companions in the set that Mozart dedicated to Haydn; the sound-quality is a little closer and heavier than one would like, and this must be noted all the more since these great quartets are among those one is likely to play most often. Oddly enough, it was also in 1966 that the Amadeus Quartet recorded this work for DG, but their sound is rather lighter and more transparent. As it happens, both ensembles take a deliberate view of this particular first movement, although the lighter tonal picture provided by the DG recording makes it more convincing. However, the Amadeus do not observe the first-movement repeat as the scrupulous Italians do and with them this movement is over a minute and a half shorter. While on the subject of comparative length, let's note that the Philips issue of eight discs compares with the DG one of six (also at mid-price) that also finds room for the three youthful Divertimentos K136-8.
But what of the playing? Well, the Quartetto Italiano bring an overall intelligence, range and refinement to the 23 works in their set and only occasionally do I find them a little too earnest, while for the most part the recordings are good enough to satisfy. As for the Amadeus, they too will surely give pleasure, and their recordings in four different locations over the 13 years 1963-76 are perfectly serviceable. Connoisseurs of their work need not hesitate. But for my taste at least, and especially in the earlier quartets, their intense commitment to the music results in some over-projection and a consequent loss of simplicity and for this reason the Philips set is to be preferred.
CH