The Artis Quartet of Vienna prefers to play standing up. This makes it easier to move, results in a freer sound and also helps burn off more calories. We're curious to see what effect this has on Mozart. His KV575 Quartet is a reworking of a previous setting of Goethe's poem 'Das Veilchen'. The resulting salute to Haydn has always been popular with players and audiences alike. Egon Wellesz's Third Quartet is a very different story. Composed in 1918, it was not heard again until eighty years later. It hardly seems possible that the world was deprived of this eruption of warm-blooded music for so long. In it, stately melodies clash with obsessive rhythms and sometimes harrowing harmonies. Wellesz appears to have been a high-spirited version of his tutor Schoenberg. Without getting tangled up in misbegotten twelve tone series. Allmusic ventured to call it a 'lost chapter in the history of the Second Viennese School". This is the repertoire with which the Artis Quartet more familiar than anyone else! Their Wellesz recording immediately earned them their umpteenth Diapason d'Or. The cherry on the cake will be Brahms' Second String Quartet, famous for its pulsating finale, in which the main theme runs resolutely counter to the time of the accompaniment.