In a nutshell:• Molique was conservative for his time, still emulating classicism via Spohr and early Beethoven when Romanticism was in full bloom.• Although not at the level of Onslow, Burgmüller, Czerny, or Spohr, Molique's string quartets possess well-wrought material.• String Quartet No. 1 in G major op. 16 (1841) is surprisingly more effective than any of Molique's op. 18 quartets (see Vol. 1). It has a noble Haydnesque "Allegro," a spry and motivic "Menuetto," and a profound "Andante."• String Quartet No. 2 in C minor op. 17 (1841) is an altogether different work: ambitious, darker, and with appropriate minor-key intensity. An epic 14-minute "Allegro" conveys a struggle between tension and release, while the angular "Menuetto" and yearning "Andante" offer reams of interesting and expressive content. Apart from Molique's F minor quartet, this is surely one of his greatest efforts in the genre.• Mannheim String Quartet treats these pieces with respect and warmth and observes exposition repeats.• Recorded sound is excellent.A student of Spohr and a preeminent violinist in his day, Bernhard Molique (1802-1869) is now little more than a footnote. If he ever carried any fame, it was for his violin concertos. Molique may have been active in the mid-19th century, but he approached Romanticism timidly and instead cultivated an anachronistic style that Schubert might have found tame. His eight string quartets are never far away from classicism, even if they reveal a stylistic evolution from early Beethoven to Mendelssohn. It is a neat trick that Molique published string quartets matching the opus numbers of Beethoven's (op. 18) and Mendelssohn's (op. 44). In any event, Molique keeps a tight rein on his emotions and eschews the expressive gestures and grit of Beethoven. Even the liner notes paints a portrait of a composer constantly blushing in his music, as if he's too demure to abide chromaticism, intensity, or unrestrained passion.String Quartet No. 1 in G major op. 16 (1841) is, oddly enough, more inventive and texturally varied than Molique's three quartets of op. 18 (see Vol. 1). It begins warmly and in sunny Haydnesque fashion with an "Allegro" of instant melodic appeal. Both themes are excellent and supported by exquisite part-writing and a noble development. Molique offers a playful "Menuetto" with a distinctive leaping motif reproduced in various guises. The "Andante non troppo" is utterly profound for Molique, who usually avoids deep emotions. This movement is infused with long-breathed angelic lines and expressive fluttering intervals, generating a sublime and atmospheric effect. Occasional strains of melancholy and harp-like pizzicati—again unusual for Molique—add to the depth of this movement. The leaping motif of the minuet is referenced in the energetic "Rondo," full of cheerful staccato patter and graceful counterpoint.String Quartet No. 2 in C minor op. 17 (1841) is in stark contrast to its predecessor: bigger, darker, and more complex. The first movement is Molique's most ambitious and longest of all his quartets, reaching 14 minutes. His exposition is on a grand scale, clocking 8 minutes when repeats are taken. The music itself is serious: a primary theme laden with tension is slightly relieved by the elegant secondary theme. During transitions, the 1st violin part is assertive and there's an aggressive interplay between the ensemble, which comes to a head in the rigorous development. Next is minor-key "Menuetto" of peculiar rhythms and angular material, while the ensuing "Andante" is dignified, yearning, and even has a stretch of gentle fugato writing. In the "Finale," the texture is lighter and contrapuntal, but not without its moments of vehemence befitting the key of C minor.The Mannheim String Quartet is at home with Molique's idiom. They treat these lightweight quartets with respect and warmth, generating a satisfying blend, clarity of texture, and clean execution. Exposition repeats are observed. Recorded sound meets CPO's high standards.