Customer Reviews

Beethoven: String Quartets C Sharp Minor, Opp. 131 String Quartets F Major 135

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Those who heretofore have perhaps found the late c#-minor Quartet forbiddingly off-putting, may here at last find a sympathetic introduction to this eminent work via this realization by efficient, technically superb, and empathetic youthful Germans.

One of the first recordings which the Leipziger SQ made for MDG was of the daunting c#-minor Quartet.
Originally paired with Schubert's c-minor Quartet (D.703) and issued in 1994, the performance was rereleased with Beethoven's late F-major Quartet and reissued in 1998 as part of the Leipziger's complete Beethoven Quartet cycle. It is, however, the performance of Op. 131 made in January 1994.

Straight out of the gate, the Leipziger's characteristics are readily apparent: a modest youthful confidence which convinces not via shock and awe but by civilized persuasive discussion.
The ensemble's string timbre is perfectly pleasing in tonal execution, while overall its tempi are carefully nuanced: not too slow in the Adagios/Andantes; not too brisk in the Allegros/Presto.
The Leipziger's dynamics too are nicely shaded wherein they avoid alarming extremes in favour of an overall pleasing sonic level.

The Leipziger's dulcet approach is immediately apparent in its chastely seductive execution of the introductory Adagio molto espressivo wherein they subtly downplay the dissonances while emphasizing the sweetness of the consonances, even as they maintain extremely clean lines of contrapuntal discourse.

The ensemble's smoothly charming approach is extended into the Allegro (molto vivace) which is sprightly but avoids the usual chafing dynamic contrasts found in so many other readings.

The group makes a balmy and aesthetically logical transition via the little Allegro moderato into the Andante molto cantabile wherein they administer the swirling hymn-like variations in a distinct echo of the glorious Adago cantabile of the Ninth Symphony.

The Leipzigers gracefully move thru the ensuing Presto and Adagio-andante unto the great fugal Allegro--which is indeed practically an abbreviated Groß Fuge.

MDG's recorded sound is pristine, with the microphone apparently hung at close to middle range above the performers.
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1994 issue Op. 131
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