Here’s a second helping from the excellent Tippett Quartet and those adventurous folk at Convivium Records of string quartets by English-born and (since 2005) Chicago-based Lawrence Rose (b.1943). On page 61 of the November 2025 issue my colleague Guy Rickards had good things to say about its ‘quietly revelatory’ predecessor containing the Danses pour quatuor (2007, revised in 2024) and Fourth Quartet (2024). Like the latter, the Second Quartet (written during 2013 14 and revised last year) is cast in five movements, its formal plan following ‘the Bartókian model of a five-movement arch: mainly moderate; scherzo; slow; scherzo; mainly moderate’ (to quote the composer). Idiomatically conceived for the medium and attaining a lofty serenity towards the close of the central Lento (try from 6’03” onwards), this is a work of undoubted substance, always sure of its ultimate destination and well worth grappling with – especially when performed with such poise, concentration and understanding as here.

Its six-movement successor from 2017 proves another notably meaty, resourceful and invigorating affair, the writing always thoroughly convincing in its sense of purpose and healthy discourse. Again, the benign presence of both Beethoven and Bartók soars over the whole enterprise (Rose readily acknowledges as much in the booklet), although anyone who responds to the quartets of, say, Shostakovich, Holmboe, Robert Simpson or David Matthews will also feel right at home in this music. Hats off to the Tippett Quartet for another fervent, assured and wholly dedicated display, captured with pleasing realism by sound engineer Adaq Khan working in the helpful surroundings of All Saints’ Church in East Finchley (one of Decca’s preferred recording venues across the decades). A job well done!