Beethoven: String Quartets

Ludwig van Beethoven (Composer), Takacs Quartet (Performer) | Format: Audio CD

Product Details

• Performer: Takacs Quartet
• Composer: Ludwig van Beethoven
• Audio CD (May 14, 2002)
• SPARS Code: DDD
• Number of Discs: 2
• Label: Philips/Decca
• ASIN: B000063WRQ
• In-Print Editions: MP3 Download
• Average Customer Review: 4.9 out of 5 stars  See all reviews (14 customer reviews)
• Amazon Best Sellers Rank: #24,459 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

Having toured the world with its Beethoven Quartets cycle as the old millennium entered the new, the Takács Quartet now commits some of them to disc. This two-CD set from Decca includes the three Razumovsky quartets, Op. 59, of 1806, and the Harp Quartet, Op. 74, sometimes known as the Lobkowitz after its dedicatee, composed in 1809. Although the latter's presto yields the fastest version of the fate motif Beethoven ever wrote, it is possible to go too quickly, as the Takács does here, making triplets of the first notes, which are not written as such. The speed of the dazzling finale of the Razumovsky No. 3 is impressive, but just fails to grip as firmly as a slightly slower, more controlled performance might.

On the other hand, the Thème Russe last movement of the Razumovsky No. 1 is a model of restraint, the playful parts entering from all angles with delightful measured precision, polished and perfect. The Takács' music breathes as if in a meditative trance the broad, shallow arch of the molto adagio, which lasts a satisfying quarter-hour in Razumovsky No. 2. The four play best what is calculated and intricate, like the theme and variations that conclude the Harp Quartet, giving each episode a distinct flavor. Variety is more important than usual on one-composer recordings such as this, and the members of the Takács Quartet prove themselves contemplative Beethovenians, who occasionally mistake the gallop for a stampede. --Rick Jones

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The Takacs Quartet begin in the middle of what is to be a complete set of the Beethoven string quartets. The Takacs had enjoyed nearly 20 years of increasing international success before, in the mid-1990s, Gabor Takacs, their founder and leader, died, to be replaced by Edward Dusinberre; and two years later Roger Tapping became the viola player. Since then, the reconstituted ensemble has won new laurels, notably with their 1998 set of the Bartok quartets (also on Decca). And on the evidence of these two discs, this is going to be a very desirable Beethoven cycle. The playing is of the highest standard: exuberant, yet also alive to the softest, tenderest gradations; tempos are well chosen and finely sustained; there is a strong sense of direction; all four musicians are equally adept at taking the lead and slipping into an accompanimental role. And so expert is their unanimity that I was surprised by a tiny flaw in ensemble 2'58" into the Molto adagio of the Eighth Quartet, otherwise played with such masterly control of shape and emotion. There are innumerable highlights, but these deeply considered readings are marked above all by integrity of purpose and achievement. The very different challenges of the four quartets are met boldly, the quirky nature of the Harp as confidently brought off as is the immense stature of the first Rasumovsky and the elusive nature of the second in E minor.The catalogue lists a bewilderingly large choice. Anyone wishing to acquire these four works, without commitment to Decca's new venture, would be well served by the Tokyo Quartet or, at mid-price, Quartetto Italiano (both of these are three-disc issues and include Op. 95). The Lindsays' two-disc set of the three Rasumovskys has all the vibrant life and depth one would expect. The recorded quality is high, with clarity of placement and full dynamic range naturally conveyed (though cello pizzicatos in the slow movement of the Ninth are perhaps over-prominent). I did feel initially that the broad, empty acoustic might be a problem, but the marked resonance doesn't take the edge off the composer's characteristic sudden silences. Future issues in this series will be keenly awaited – this promises to be among the very finest complete Beethoven quartet cycles. Peter Branscombe

Customer Reviews

Most Helpful Customer Reviews

61 of 62 people found the following review helpful:

5.0 out of 5 stars Wonderful Recording, February 16, 2004

By 

David R. Barker "Physicist" (Falls Church, VA United States) - See all my reviews
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This review is from: Beethoven: String Quartets (Audio CD)

I heard parts of this 2-CD set while shopping at Tower Records. The Op 74 "Harp" quartet was so distinctly and beautifully played I had to inquire as to the artists. I have good recordings by the Lindsay's and Quartetto Italiano, Guarneri and others, but this recording instantly became my favorite. Includes the Op 59 Nos 1-3. The Andante of the No. 3 is especially beautiful here. Highly recommended. These middle period quartets are also a good place to start a listening adventure into Beethoven's string quartets.

57 of 59 people found the following review helpful:

5.0 out of 5 stars Like hearing it for the first time..., March 29, 2004

By A Customer

This review is from: Beethoven: String Quartets (Audio CD)

Just seconds into the Rasumovsky 1, you know you're in for something special here. Not only are these the finest sounding that I have heard, but the Takacs technical skill is matched by the emotion they display in playing these middle quartets. A note on the recording-I'm finding that there is a big difference in some of the CD's produced now-vs-even just 2-3 years ago. The four instruments are perfectly balanced and the recording is faultless. I immediatley bought the Takacs early quartets and they are just as fine. The Beethoven cycle of quartets is some of the most beautiful music written in my opinion and the Takacs are now my first choice. I can't wait for their release of the late cycle..

38 of 38 people found the following review helpful:

5.0 out of 5 stars Takacs Full Beethoven St. Quartets Review (part 2), August 27, 2006

By 

B. Edwards - See all my reviews
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This review is from: Beethoven: String Quartets (Audio CD)

This is the 2nd part of my full review of the Takacs string quartets. Part 1 is for the Opus18 Quartets and Part 3 for the Late Quartets.

I am a Busch Quartet Lover (as are the Takacs players themselves) so those quartets loom in the back of my mind as the standard against which other performances are measured. Since the Busch performances were loved against years of listening to many other quartets as well, it is high praise for the Takacs that I consider the Takacs often their equal, and on some occasions (op59 no3) even superiour.

The Takacs are certainly one of the strongest modern quartets, offering outstanding virtuosity in all 4 positions married to a large variety of tonal expression. They don't quite have the novelty and plain wierdness that the Lindsay's always manage to find, but are far more thrilling and precise in their articulation. Opus 59 no.2 in the old Lindsay set is one of their finest achievments in my opinion, yet the Takacs are as good in their more straightforward way. The wild fantasy and total uncertainty about what will come next that the Lindsay's manage turns into oohs and ahhs for the Takacs with their blazing virtuosity and martial power. Compared to the Busch Op59 no.2 however (currently out of print) the Takacs lack the unanimity of texture that the older quartet can muster. They also don't have the same authority of vision that Busch musters, which is especially evident in the slow movement, where the Busch always seem to find that perfect shade of volume and rythym to capture Beethoven's inspiration.

In fact, I would say that is the greatest weakness of this first Takacs Beethoven release (they recorded op18 next and late qs last). They often seem to just lose a grip on the deeper meaning of the music and substitue for it a repetative dimuendo to crescendo "effect", like they are trying to insert some drama that they don't find in the music. This "trick" mostly dissapears thankfully by the final set, but here it often rears up and betrays an emotional immaturity when compared to the Busch.

Nevertheless! This is not always so, and in my opinion they capture the perfect time and dynamics for the op59 no3 slow movement, that dreaded place where most quartets fall down. Their immaculate pizzicato and perfect phrasing even outdoes the Busch in my opinion, making it the best version available of this quartet.

Op59 no 1 is a very fine performance all they way through, more visceral and thrilling yet just as involving as the 1941 Sony Busch recording except, unfortunately, in the slow movement. Here, the Busch manage a rapturously sorrowful lament of dreadful passion that leaves you breathless. The Takacs come off rather badly in comparision, taking a quiet pensive approach that just completely pales in comparison to the Busch revelation.

Finally, the Harp quartet really sparkles under the Takacs, a brilliant virtuosic show yet never getting aggressive the way the Berg do for example. (No Busch perf on record for this quartet sadly). The uncommonly rapidly played scherzo is especially thrilling in my mind, though some reviewers have preferred a more measured pace. This is my favourite perfomance of the harp on record.

A wonderful set then, well deserving of all its accolades. Op59 no3 and op 74 are my two favorite recorded performances, and op59 1 and 3 aren't bad either, the painfully weak point being the slow movement of op59 no1 in comparision with the Busch. Hear the Busch in that movement and you will see why they are justly esteemed so highly.

Thanks for reading