After Beethoven, the production of string quartets suffered a gradual decline. In France, in the second half of the 19th century, very few string quartets were composed, the most important ones that survived the test of time being those of Cesar Franck (1889), Debussy (1893) and Ravel (1903).

But the two Saint-Saëns quartets recorded here ought to be included in the list as well, and one strives to find a reason why performers often disregard them in favour of the usual and more popular works. After all, the Quartet in E minor Op.112, composed in 1899, was written for that same Ysaÿe to whom, six years earlier, Debussy had dedicated his own quartet. And how could a work composed for such a celebrated soloist be anything but fine?

Like Schumann and Brahms, Saint-Saëns consistently included the piano in his chamber works. The two quartets recorded here are, therefore, an exception, and the composer had to abandon the notion of ’accompaniment’ and tackle the balance of colours and sonorities of four string instruments, which as a rule lead to harmonic and polyphonic situations where all parts are of equal importance. Saint-Saëns conquered the form, for his hand was always guided by such musical wisdom and discernment as to make his works appear at once natural and extraordinary.

Venice String Quartet:
- Vio Andrea: violin
- Battiston Alberto: violin
- Morassutti Luca: viola
- Zanin Angeli: cello