Customer Reviews

Beethoven: The Late String Quartets

5 star:		(5)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(2)

 

 

This performance is simply in a class by itself. The Busch Quartet plays with complete selflessness as they are very dedicated to the music and do not exhibit mere 'showmanship' which was common in their day and in ours. One reviewer criticized the sound quality - I have the EMI records from some years ago which was the earlier transfer - I think the sound of the CD is different in the sense that it has a more forward sound-stage and with the mono sound this may make it sound a bit constricted at first, but this passes quickly as you listen -the range is very good, the clarity is excellent, and overall I like listening to these transfers quite a bit more than I did to the records. My recommendation is to get these recordings right away and if you are a fan of the late quartets your ears will be opened to a much deeper level of interpretation and you will hear sensitive and profound readings of these masterpieces.

What's an innocent reader to do? Here we have one reviewer who's outraged by EMI's remastering of the Busch Quartet's legendary Beethoven while I find it eminently listenable. To my ears the upper third of the higher frequencies hasn't disappeared -- the latest technology doesn't surgically amputate the frequency range, to begin with -- and in place of the dry, boxy sound one associates with the Busch recordings, these have a bit of bloom. Pitch has been nicely stabilized as well. I guess you'll have to hear some samples and decide for yourself. I only want to say that as a veteran listener to historical recordings, these offered less ear fatigue and more pleasure than previous issues I've heard.

As for the readings themselves, the Gramophone's comments still ring true: "The Busch recorded nine of Beethoven's 16 string quartets for HMV and American Columbia during the 1930s and early 1940s. Though other eminent quartet groups recorded Beethoven during this period, none rivalled the Busch's reputation for getting to the heart of Beethoven's inspiration."

P.S. -- Given the variable sources, there is sometimes a bit of residual hiss (as in Op. 132), sometimes none (Op. 131), and violin tone can be a little squeaky or not, depending.

According to the booklet notes accompanying this reissue, the transfers from 78s were done by EMI's Andrew Walter (Op. 130 and 133) and by the Seth B. Winner Sound Studios, Inc. I don't know anything about Mr. Winner. I do know that Mr. Walter is EMI's top transfer engineer, succeeding EMI's late, great Keith Hardwick---but Mr. Walter transferred only the Opp. 130/133, the originals of which were actually recorded in Liederkranz Hall in NYC in 1941 by American Columbia. The remaining items---apparently transferred from 78s by Mr. Winner---were recorded 1932-1937 by EMI in Abbey Road Studio No. 3 by balance engineer Edward Fowler. (Mr. Fowler was among EMI's best balance engineers during that period. It was he who recorded the Schnabel Beethoven and Schubert sonata series.)

[Added in edit: It's important to read the commentaries to this review. The booklet notes that I was relying on may not list correctly which transfer engineers worked on these recordings. If you are interested in these performances, it might be a good idea to investigate the Dutton transfers, which are said to have better sound. I haven't heard them, but I have many other Dutton transfers from 78s and none is less than sensationally good.]

With this engineering pedigree why is it, then, that these transfers sound so dull? There is no air aound the instruments, no resonance, no room ambiance. The players seem to be performing in a sonic void. In my opinion the present transfers do not do justice to the sound on the source material. My guess is that the perceived need to remove "the inherent noise of the original 78's", as reviewer "rater25" stated, led to sacrifice of the frequency ranges where you find both the surface noise and the room ambiance. (And yes, some of the string sound too.) It's not that these transfers are unlistenable. It's that they sound as if you're listening from the last row of an acoustically-great concert room---and the balcony above your head is blocking most of the room ambiance. If you've been in seats like that, you know how frustrating it can be.

As for the performances---yes, they are historic, and yes, they preserve the warm interpretations of some very great musicians. But in all respect I would have to say that we have moved on. (I say this as one who loves both the performers and the recorded legacy of the 78 rpm epoch.)

For equally sublime readings of late Beethoven, try the Tokyo on RCA Red Seal (deleted by BMG Sony, but still available from Amazon's associated sellers), or try the Budapest Columbia stereo set, released by Sony in a single box in 2010. Another set of interest is the 1953 Hungarian (the mono Hungarian, not the later stereo remake) on EMI if you can find it. Or try the Guarneri. These quartets play in the same expressive style of the Busch players, but they have first-rate sound, their intonation is better, and they don't use portamento. There are other string quartets who are as good in late Beethoven.

I agree with the reviewer who regards this reissue as a sonic disgrace. Indeed it is. I obtained this set thinking the sound would represent an improvement over previous EMI reissues of the Busch Quartet. Unfortunately, what I hear emerging from my speakers is cramped, dull, and lifeless--especially when compared to some other remasterings of these classic recordings. I would strongly recommend that any one who cares for great chamber music performances (which these undoubtedly are) obtain either the Dutton or the Pearl remasterings. Unfortunately, the Dutton label has not yet released all of the Busch Quartet's late Beethoven, but what they have given us to date represents the best transfer so far of this historic material.

I was hoping that the new remasterings would improve the already excellent sound quality of the Biddulph transfers I luckily purchased from Gerry Canter, the Classical Collector who sadly died recently. The Biddulphs are excellent, but there is just a slight amount of background hiss which the new EMI transfers have eliminated. Unfortunately they have also eliminated the strong presence of the original 78s that are well captured on Biddulph and Dutton. Even though you have to acquire them separately, it is better to avoid the new EMI re-mastering (2008).

If the sound of this issue at least matches that of the earlier 4-disc set
(EMI Classics), it deserves five stars -- and more, when one considers the performances at hand.

I will stay with the 4-disc set that also includes Op18/1, Op59/3, Violoin Sonata NO. 3 (Busch & Serkin), Schubert String Quartet No. 8, and
Medelssohn's Capricio in E minor.

I have the Op.130 coupled with Op.59/1 on a Columbia Masterworks Portrait CD, and the sound quality is a good match to the EMI release, which I think is very good, indeed.

Since we are considering the quality of the recorded sound, I find it superior to that of the Bridge releases of the Budapest String Quartet recordings of the Late Quartets from The Library of Congress concerts from the '40s and '50s, and quite close to that of the Hungarian Quartet set from the early '50s, also on EMI.

I am glad to have stereo recording by the Vegh, Alban Berg and Takacs Quartets, among others, but exposure to the range of recording art, from the 78 era through analog 'hi-fi' and stereo to recent digital releases only increases my appreciation of the purely musical values that emerge from these recordings by the Busch Quartet.

Please note that the recording of the Grosse Fuga on this release is not by the Busch Quartet, but by a string orchestra conducted by Adolph Busch.

If you enjoy static, hiss and crackle then stick with your Pearl transfers. However, if you always wondered what the Busch Quartet's superior interpretations of Beethoven's late quartets would sound like in transfers that are not torturous to your ears, this is the set for you. This new remastering allows you to hear the music (including all of the upper range) without being subjected to the awful sound inherent with 78's. It's amazing what high quality remasters people like Michael Dutton and Obert-Thorn can produce with today's technology. These by EMI's technicians are not far behind (if not equal to). I must admit that I was a bit leary of having ordered this set when I read what the previous reviewer had to say. Those worries being baseless, I now have to wonder if he/she has even listened to this set, or is just making some wild, unfounded assumptions.

This new "remastering" of the classic Busch Quartet's late Beethoven is more like a savage butchering. In their effort to completely remove the inherent noise of the original 78's, EMI has also removed the entire upper frequency range. At least a third of the original sound is missing.

Who exactly is EMI targeting with this type of reissue? Anyone seriously interested in old recordings knows about the noise inherent in old recording techniques. And absolutely everyone else can tell that these CDs just sound awful.

Luckily, private collectors still hoard their old 78s and companies like Pearl (and others) treat original recordings with respect.

This is not the only recent EMI reissue to sound like this. Tureck's "Goldberg" Variations from 1957 has been given the same treatment. Is this how EMI plans to present and preserve their essential recorded legacy?

I thoroughly enjoy listening to these engaging and historically important recordings. I have performed many of these quartets, so I appreciate the Busch Quartet's great clarity of interpretation. Every phrase is well-shaped and focused, in contrast to the overheated style of some performances in later decades. I am glad that the sound, while superior to that of the original 78's, preserves some of the "feel" that comes from those old microphones.