Beethoven: String Quartets, Op.59 & 74

On this CD:

1. String Quartet No. 7 in F major ("Rasumovsky 1") Op. 59/1
Composed by Ludwig van Beethoven

2. String Quartet No. 8 in E minor ("Rasumovsky 2"), Op. 59/2
Composed by Ludwig van Beethoven

3. String Quartet No. 9 in C major ("Rasumovsky 3") Op. 59/3
Composed by Ludwig van Beethoven

4. String Quartet No. 10 in E flat major ("Harp"), Op. 74
Composed by Ludwig van Beethoven

Tracks:

Op. 18 No. 1 In F Major: I: Allegro Con Brio - Alban Berg Quartett
Op. 18 No. 1 In F Major: II: Adagio Affettuoso Ed Appassionato - Alban Berg Quartett
Op. 18 No. 1 In F Major: III: Scherzo (Allegro Molto) & Trio - Alban Berg Quartett
Op. 18 No. 1 In F Major: IV: Allegro - Alban Berg Quartett
Op. 59 No. 1 In F Major 'Rasumovsky': I: Allegro - Alban Berg Quartett
Op. 59 No. 1 In F Major 'Rasumovsky': II: Allegretto Vivace E Sempre Scherzando - Alban Berg Quartett
Op. 59 No. 1 In F Major 'Rasumovsky': III: Adagio molto e mesto : IV: Allegro (Th russe) - Alban Berg Quartett

Tracks:

Op. 18 No.2 In G Major: I: Allegro - Alban Berg Quartett
Op. 18 No.2 In G Major: II: Adagio cantabile - Alban Berg Quartett
Op. 18 No.2 In G Major: III: Scherzo (Allegro) & Trio - Alban Berg Quartett
Op. 18 No.2 In G Major: IV: Allegro molto, quasi presto - Alban Berg Quartett
Op. 18 No. 6 In B Flat Major: I: Allegro con brio - Alban Berg Quartett
Op. 18 No. 6 In B Flat Major: II: Adagio, ma non troppo - Alban Berg Quartett
Op. 18 No. 6 In B Flat Major: III: Scherzo (Allegro) & Trio - Alban Berg Quartett
Op. 18 No. 6 In B Flat Major: IV: Adagio (La Malinconia) - Allegretto quasi Allegro - Alban Berg Quartett
Op. 135 In F Major: I: Allegretto - Alban Berg Quartett
Op. 135 In F Major: II: Vivace - Alban Berg Quartett
Op. 135 In F Major: III: Lento assai, cantante e tranquillo - Alban Berg Quartett
Op. 135 In F Major: IV: Grave, ma non troppo tratto - Allegro - Alban Berg Quartett

Tracks:

Op. 18 No. 3 In D Major: I. Allegro
Op. 18 No. 3 In D Major: II. Andante con moto
III. Allegro
Op. 18 No. 3 In D Major: IV. Presto
Op. 18 No. 5 in A Major: I. Allegro
Op. 18 No. 5 in A Major: II. Menuetto & Trio
Op. 18 No. 5 in A Major: III. Andante cantabile
Op. 18 No. 5 in A Major: IV. Allegro
Op. 95 In F Minor: I. Allegro con brio
Op. 95 In F Minor: II. Allegretto ma non troppo
Op. 95 In F Minor: III: Allegro assai vivace, ma serioso

Tracks:

Op. 18 No. 4 In C Minor: I. Allegro ma non tanto
Op. 18 No. 4 In C Minor: II. Scherzo (Andante scherzoso quasi Allegretto)
Op. 18 No. 4 In C Minor: III. Menuetto (Allegretto) & Trio
Op. 18 No. 4 In C Minor: IV. Allegro
Op. 130 in B flat Major: I. Adagio ma non troppo - Allegro
Op. 130 in B flat Major: II. Presto
Op. 130 in B flat Major: III. Andante con moto, ma non troppo
Op. 130 in B flat Major: IV. Alla danza tedesca (Allegro assai)
Op. 130 in B flat Major: V Cavatina (Adagio molto espressivo)
Grosse Fuge In B Flat Major, Op. 133
Op. 130 in B flat Major: VI. Finale (Allegro)

Tracks:

Op. 59 No. 2 In E Minor 'Rasumovsky': I: Allegro
Op. 59 No. 2 In E Minor 'Rasumovsky': II: Molto Allegro
Op. 59 No. 2 In E Minor 'Rasumovsky': III: Allegretto
Op. 59 No. 2 In E Minor 'Rasumovsky': IV: Finale (Presto)
Op. 127 In E Flat Major: I: Maaestoso - Allegro
Op. 127 In E Flat Major: II: Adagio ma non troppo, molto cantabile
Op. 127 In E Flat Major: III: Scherzando vivace
Op. 127 In E Flat Major: IV: Finale

Tracks:

Op. 59 No. 3 In C Major 'Rasumovsky': I: Introduzione (Andante con moto) - Allegro vivace
Op. 59 No. 3 In C Major 'Rasumovsky': II: Andante con moto quasi allegretto
Op. 59 No. 3 In C Major 'Rasumovsky': III: Menuetto (Grazioso) & Trio
Op. 131 In C Sharp Minor: I: Adagio ma non troppo e molto espressivo
Op. 131 In C Sharp Minor: II: Allegro molto vivace
Op. 131 In C Sharp Minor: III: Allegro moderato
Op. 131 In C Sharp Minor: IV: Andante ma non troppo e molto cantabile
Op. 131 In C Sharp Minor: V: Presto
Op. 131 In C Sharp Minor: VI: Adagio quasi un poco andante
Op. 131 In C Sharp Minor: VI: Adagio quasi un poco andante

Tracks:

Op. 74 In E Flat Major 'Harp': I Poco adagio - Allegro - Beethoven
Op. 74 In E Flat Major 'Harp': II. Adagio ma non troppo - Beethoven
Op. 74 In E Flat Major 'Harp': III. Presto - Beethoven
Op. 74 In E Flat Major 'Harp': IV: Allegretto con Variazioni - Beethoven
Op.132 In A Minor: I: Allegro sostenuto - Allegro - Beethoven
Op.132 In A Minor: II: Allegro ma non tanto - Beethoven
Op.132 In A Minor: III: Molto adagio - Beethoven
Op.132 In A Minor: IV: Alla marcia, assai vivace - Beethoven

Customer Reviews:

A wonderful Beethoven cycle.......2007-06-18

This is a fine recording, remastered for the reissue. Intelligent, driving, finely played. Excellent musicianship. Buy it. You won't be sorry you did.

A LONG TIME COMING AT THIS PRICE .......2007-06-02

On LP I own any number of complete Beethoven String Quartets by the great masters of that genre. I bought them all as a teenager and in college. When I started buying CDs a complete Beethoven set for over $100 by a great quartet became out of my price range at the time. To find the Berg Quartet, (a favorite group of mine), surveying these great works at this price from Amazon is one of the best bargains going.

I went immediately to Op. 135 and found it marvelous in concept, execution and recording. I've now listened to almost all the quartets, and the consistency is wonderful. Because I'm in the business I'm using only high end professional equipment for playback and the sound is truly "You Are There". The recordings capture the upper overtones of all the instruments without the least harhsness, no mean feat. The blend of the group and the hall is articulated in a way that happens on only a very few recordings. Ocassionally one can hear a minor difference in what might be placement of microphones, even from movement to movement. This could, in fact, be the result of a temperature or humidity change in the recording venue. You have to pay very close attention to notice this and it does nothing to diminish these sonic wonders) Worth thrice the price.

What more can be said?.......2007-02-03

There are many wonderful performances of these remarkable pieces. Which is the finest? Only God, in his wisdom, will ever be able to answer such a question, but I'm sure with his celestial headphones on he'll be listening to the Alban Berg Quartet. For me this quartet is able to "read" each individual quartet with such clarity, from the light hearted humor of the Op.18 to the intense and darkly passionate Op.95 through to the strangely happy yet unearthly Op.135, with many other wonderful moments, that I can hardly imagine any better. You won't go wrong buying this.

With the Best of the Best.......2006-12-14

I know it's saying a great deal with the excellent full sets of these quartets to choose from, but these overall are my favorites. The playing is excellent, balanced and perfectly toned. There are unquestionably the deep emotional commitment of the Vegh Quartet, the intelligence of the Juilliard, the parlor intimacy of the Talisch and the muscular intensity of the Italiano. And the serious collector needs to listen to these sets, or selections of, for a rounded understanding of these works. But for a consistency of quality and feeling throughout a traversal of all the quartets I believe the Berg set wins an arguably close contest--at least for me.

What sound problems????.......2006-11-14

I am only writing this review in dispute of RB Townsend remarks below.
I have been listening to this mostly Live set for a few years now on high end Audiophile equipment and notice NO problems with sound at all.
It is clear, clean, crisp, transparent and rich with no "glare" at all.
if it is "well lit", this would suit Beethoven's strings perfectly.
An absolutely stunning performance with a Superb sound stage and sound.
All the other reviewers and the buyers who agree with their assessments (a hundred of them) can't be wrong.
With all due respect, Perhaps Mr. Townsend is listening to this on an Aiwa bookshelf System. Perhaps.

Average customer rating:

The most exciting
Takacs Full Beethoven St. Quartets Review (part 2)
The Best so Far.
Excellent recording.
Even the Penguin Guide says they are alongside the best

Beethoven: String Quartets
Takacs Quartet , and Beethoven
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Beethoven: String Quartets Op. 18
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Schubert: String Quartets Nos. 13 & 14

ASIN: B000063WRQ
Release Date: 2002-05-14

Tracks:

Quartet in F major, op. 59: Allegro
Quartet in F major, op. 59: Allegretto vivace e sempre scherzando
Quartet in F major, op. 59: Adagio molto e mesto
Quartet in F major, op. 59: theme russe: Allegro
Quartet in E flat major, op. 74: Poco adagio-Allegro
Quartet in E flat major, op. 74: Adagio ma non troppo
Quartet in E flat major, op. 74: Presto-Piu presto quasi prestissimo
Quartet in E flat major, op. 74: Allegretto con variozioni

Tracks:

Quartet in E minor, op. 59: Allegro
Quartet in E minor, op. 59: Molto adagio
Quartet in E minor, op. 59: Allegretto-Maggiore (Theme russe)
Quartet in E minor, op. 59: Finale: Presto
Quartet in C major, op. 59: Introduzione: Andante con moto-Allegro vivace
Quartet in C major, op. 59: Andanto con moro. Quasi allegretto
Quartet in C major, op. 59: Menuetto (grazioso)
Quartet in C major, op. 59: Allegro molto

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

Customer Reviews:

The most exciting.......2006-09-01

A lot of more or less perfect performances of the middle quartets are avaiable, but this is the most exciting. There is a price to pay for excitement, that is a lesser feeling of balance, of perfect architecture. For my part I happily pay that price, because to me, the middle Beethoven was very much about excitement. The master would certainly enjoy the playing of the Takacs. If this is your first set of Beethoven's middle quartets, you will hardly accept other; this is so exceptional.

Takacs Full Beethoven St. Quartets Review (part 2).......2006-08-27

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

The Best so Far........2006-05-18

This set is amazing. I have had the pleasure of hearing the Berg, Lindsay, Emerson, and Julliard string quartets interpret the opus 59s, and I must say that the Takacs outdoes them all. Before this recording was introduced to me, I had a deep affection for the Emerson and Julliard's recordings. That has most certainly changed now. The Takacs fulfilled all my preconceived notions about what these pieces require, and introduced me to much much more. The finale of the op. 59 no.3 is astounding (a term I would never use to describe the previous quartets' interpretations), and, in my opinion shatters the attempts of the Emerson's rendition - I'm not sure where Mr. Jones finds so much room to complain about the finale of the no. 3 - nevertheless he is wrong. The op. 59s as recorded here is a landmark recording and I promise it will be referred to as an essential interpretation for years to come. As for the "harp" quartet, I could talk forever about the amazing beauty which is reveled in this recording....but I'll spare you. All I will say is that it too is fantastically beautiful and should not be missed. Whether you are a native collector of Beethoven quartets or one just looking for the "right" first set, the Takacs will not disappoint - Strongly Recommended.

By the way, the case cover you will most likely be getting if you are ordering it new is the one pictured above by Mr. Frank Rust, not the one pictured by Amazon.com. Not that it matters, but I just thought I would let you know.

Excellent recording........2006-01-01

I own a few other complete sets (not including the Emersons, Alban Berg, and the Lindsays). I had always been impressed by the Italian Quartet. The Takacs play at the same level, but with better recorded sound. In retrospect, I don't see Takacs as that much of an upgrade (unlike some of the previous reviewers). However, for a first set, they would be my first choice, particularly if price is not an issue.

Even the Penguin Guide says they are alongside the best.......2004-12-19

The Penguin guide, which seems to like the Lindsays (as do I) says this set ranks alongside the finest. Less mistakes than the Lindsays make. Slower in some parts than other first rate quartets. Depth of feeling as good or better than any other version. Great sound.

Also good are The Italian Quartet and the Talich - but they both are older recordings that aren't quite as good as the two quartets mentioned above. But some still claim them to be the best.

Average customer rating:

Beethoven Mastery
An excellent collection for the Beethoven aficionado
Trying to understand what the Emersons want to achieve
Where's the Beef? It's a Great Cut
GETTING THERE

Beethoven: The String Quartets

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B0000041KV
Release Date: 1997-03-11

Tracks:

6 String Quartet Op. 18 No. 3 In D Major: Allegro
6 String Quartet Op. 18 No. 3 In D Major: Andante con moto
6 String Quartet Op. 18 No. 3 In D Major: Allegro
6 String Quartet Op18. No. 3 In D Major: Presto
6 String Quartet Op18. No. 1 In F Major: Allegro con brio
6 String Quartet Op. 18 No. 1 In F Major: Adagio affettuoso ed appassionato
6 String Quartet Op. 18 No. 1 In F Major: Scherzo: Allegro molto
6 String Quartet Op. 18 No. 1 In F Major: Allegro
6 String Quartet Op. 18 No. 2 In G Major: Allegro
6 String Quartet Op. 18 No. 2 In G Major: Adagio cantabile - Allegro - Tempo I
6 String Quartet Op. 18 No. 2 In G Major: Scherzo: Allegro
6 String Quartet Op. 18 No. 2 In G Major: Allegro molto, quasi Presto

Tracks:

6 String Quartet Op. 18 No. 4 In C Minor: Allegro ma non tanto
6 String Quartet Op. 18 No. 4 In C Minor: Andante scherzoso quasi Allegretto
6 String Quartet Op. 18 No. 4 In C Minor: Menuetto: Allegretto
6 String Quartet Op. 18 No. 4 In C Minor: Allegro: Prestissimo
6 String Quartets Op. 18 No. 5 In A Major: Allegro
6 String Quartets Op. 18 No. 5 In A Major: Menuetto
6 String Quartets Op. 18 No. 5 In A Major: Andante cantabile
6 String Quartets Op. 18 No. 5 In A Major: Allegro
6 String Quartet Op. 18 No. 6 In B Flat Major: Allegro con brio
6 String Quartet Op. 18 No. 6 In B Flat Major: Adagio ma non Troppo
6 String Quartet Op. 18 No. 6 In B Flat Major: Scherzo: Allegro
6 String Quartet Op. 18 No. 6 In B Flat Major: La Malincolia: Adagio - Allegretto quasi Allegro

Tracks:

3 String Quartets Op. 59 ('Razumovsky') No. 1 In F Major: Allegro
3 String Quartets Op. 59 ('Razumovsky') No. 1 In F Major: Allegretto vivace e sempre scherzando
3 String Quartets Op. 59 ('Razumovsky') No. 1 In F Major: Adagio molto e mesto--attacca:
3 String Quartets Op. 59 ('Razumovsky') No. 1 In F Major: Theme russe: Allegro
3 String Quartets Op. 59 ('Razumovsky') No. 2 In E Minor: Allegro
3 String Quartets Op. 59('Razumovsky') No. 2 In E Minor: Molto Adagio: Si tratta questo pezzo con molto di sentimento
3 String Quartets Op. 59('Razumovsky') No. 2 In E Minor: Allegretto -- Maggiore (Theme russe)
3 String Quartets Op. 59('Razumovsky') No. 2 In E Minor: Finale: Presto

Tracks:

3 String Quartet 0p. 59 ('Razumovsky') No. 3 In C Major: Introduzione: Andante con moto - Allegro vivace
3 String Quartet 0p. 59 ('Razumovsky') No. 3 In C Major: Andante con moto quasi Allegretto.
3 String Quartet 0p. 59 ('Razumovsky') No. 3 In C Major: Menuetto grazioso -- attaca:
3 String Quartet 0p. 59 ('Razumovsky') No. 3 In C Major: Allegro molto
Quartet In E Flat Major, Op. 74 ('Harp'): Poco Adagio -- Allegro
Quartet In E Flat Major, Op. 74 ('Harp'): Adagio ma non troppo
Quartet In E Flat Major, Op. 74 ('Harp'): Presto - Piu presto quasi pretissimo - attacca
Quartet In E Flat Major, Op. 74 ('Harp'): Allegretto con Variazioni
Quartet In F Minor, Op. 95 'Quartetto (O) serioso': Allegro con brio
Quartet In F Minor, Op. 95 'Quartetto (O) serioso': Allegretto ma non troppo: attaca
Quartet In F Minor, Op. 95 'Quartetto (O) serioso': Allegro assai vivace ma serioso
Quartet In F Minor, Op. 95 'Quartetto (O) serioso': Larghetto espressivo -- Allegretto agitato -- Allegro

Tracks:

Quartet In E Flat Major, Op. 127: Maestoso -- Allegro
Quartet In E Flat Major, Op. 127: Adagio, ma non troppo e molto cantabile - Andante con moto - Adagio molto espressivo - Tempo I
Quartet In E Flat Major, Op. 127: Scherzo: Vivace
Quartet In E Flat Major, Op. 127: Allegro -- Allegro comodo
Quartet In C Sharp Minor, Op. 131: Adagio, ma non troppe e molto espressivo - attaca
Quartet In C Sharp Minor, Op. 131: Allegro molto vivace - attaca
Quartet In C Sharp Minor, Op. 131: Allegro moderato - attaca
Quartet In C Sharp Minor, Op. 131: Andante, ma non troppo e molto cantabile - Piu mosso - Andante moderato e lusinghiero - Adagio - Allegretto - Adagio, ma non troppo e semplice - Allegretto - attacca
Quartet In C Sharp Minor, Op. 131: Presto - attaca
Quartet In C Sharp Minor, Op. 131: Adagio quasi un poco andante - attaca
Quartet In C Sharp Minor, Op. 131: Allegro

Tracks:

Quartet In A Minor Op. 132: Assai sostenuto - Allegro
Quartet In A Minor Op. 132: Allegro am non tanto
Quartet In A Minor Op. 132: Andante - Molto adagio - Andante - Molto adagi: Mit innigster Empfindung
Quartet In A Minor Op. 132: Alla marcia, assai vivace - Piu allegro - attaca
Quartet In A Minor Op. 132: Allegro appassionato - Presto
Quartet In F Major Op.135: Allegretto
Quartet In F Major Op.135: Vivace
Quartet In F Major Op.135: Lento assai, cantante e tranquillo
Quartet In F Major Op.135: Grave, ma non troppo tanto - Allegro

Tracks:

Quartet In B Flat Major, Op. 130: Adagio ma non troppo - Allegro
Quartet In B Flat Major, Op. 130: Presto
Quartet In B Flat Major, Op. 130: Andante con moto, ma non troppo
Quartet In B Flat Major, Op. 130: Alla danza tedesca: Allegro assai
Quartet In B Flat Major, Op. 130: Cavatina: Adagio molto espressivo
Quartet In B Flat Major, Op. 130: Grosse Fuge (Op. 133) Overtura: Allegro - Meno mosso e Moderato - Allegro - Fuga: (Allegro) - Mino mosso e moderato - Allegro molto e con brio - Allegro
Quartet In B Flat Major, Op. 130: Finale: Allegro

Customer Reviews:

Beethoven Mastery.......2007-04-20

A cornerstone of any comprehensive Beethoven recording collection, Deutsche Grammophon 's recording of the Emerson String Quartet performing Beethoven's string quartets not only possesses excellent sonic characteristics, but also proves to be a rich performance by one of the outstanding string quartets of this generation. The technical accuracy of the Emerson's performance, coupled with the recording mastery of DG, provides a rewarding listening experience for any Beethoven fan, and perhaps particularly so for those interested in studying Beethoven's efforts within the string quartet genre. If you are a student of string quartets in general and Beethoven in particular, or if you are just looking for a great recording of all of Beethoven's string quartets, this set will undoubtedly become a valuable addition to your collection. Like me, you'll also likely find that these recordings will bring you years of enjoyment as you work through each of these stunningly performed pieces by the Emerson String Quartet.

An excellent collection for the Beethoven aficionado.......2006-08-22

The Emerson String Quartet combine a strength of performance at the same time giving the listener subtle shades of color producing one of the supreme recordings of Beethovens string quartets ever. They've almost done the unattainable, by producing a new approach to this old musical literature, while maintaining integrity. They bring a level of thought to these performances that have rarely been matched. Enthusiastic and sensitive interpretations rolled into one.

This box set (autographed by each member, thank you very much) is my favorite interpretation. The Budapest, Busch, Guarneri, Talich and Vegh quartets are also very good, but these provide technical brilliance and are faithful to the score, while being heartwarming and intellectually inspiring. Also, these are definitely not cold readings, but ecstatic one's. I found them refreshing and different, and still deeply moving and of course, thrill with excitement.

The main reason I recommend these recordings is because they're carefully edited performances, so well edited in fact, that I never heard a single edit, and I'm a headphone listener. They recorded many takes (versions) so that they (the Emersons & producer Max Wilcox) could cherry pick the best parts within each movement, creating "the magic take" or at least something very close. I also read that they'd like to enjoy hearing these recordings someday, without worrying...could we have done it better? Sure, they could have done the "one take" perfectly (I've seen them live), but perfect doesn't necessarily mean...magical. They utilized the recording studio for all it's worth. Bravo!

These musicians have obviously polished their form to a high level of refinement, and anyone interested in the string quartets of Beethoven would likely rate this set as a valuable addition to their collection.

Highly recommended.

Trying to understand what the Emersons want to achieve.......2006-07-30

There's a new intent behind the Emerson's fast, unromantic readings of Beethoven. I don't know the status of Beethoven's metronome markings in the quartets (there were many works for which he left no exact metronome readings), but those for the symphonies are very fast--to the point that their speed seemed impossible for generations. It took a complete change of style, one that discards romantic lingering, nuance, and "deep" phrasing, before the music sounds right at extreme velocity.

The Emersons don't go all the way into period style. They employ vibrato, and they don't use hairpin dynamics, for example. Even so, they achieve their fleet readings by substituting different expressive techniques in place of romanticism: sharp attacks, springy rhythms that often dance in cut time, and a strong emphasis on counterpoint. At times we get a virtual x-ray of Beethoven's complex part writing.

All this seems terribly wrong if you can't adjust to their perspective. To a traditionalist, the Emerson's approach is like Beethoven without the Beethoven, a stylistic non-entity disguised with ear-catching virtuosity and precision. Yet in a world where we already have dozens of traditional Beethoven quartet cycles, the Emerson's set can be listened to as an experiment or a new hypothesis waiting for others to react. My rason for giving only three stars, frankly, is that I don't find enough variety here. Even if you decide to be novel, each quartet desdrves its own personality. Here, only personality fits all. Early, middle, or late, we hear one style of music-making, which ignores the evolution that Beethoven went thourgh over a lifteimte of struggle and innovation.

Where's the Beef? It's a Great Cut.......2006-06-27

After listening to the Beethoven String Quartet cycle I wonder from where most of the negative comments regarding the Emersons come. These are both exciting to listen to and are technically and artistically sound. I won't say, however, that this Emerson String Quartet's production will be to everyone's liking. It is as usual a virtuoso performance performed a bit faster than others.

The quibble over tempo is just that. Some prefer a more upbeat tempo to a slower syrupy one. Both, however, can be well within the tempo markings of the piece. I do not find any of these quartets overly fast but I do find many other versions to be performed overly slow. If your "preferred style" is to have each note stretched out in order to savor the experience then I suggest you look elsewhere. At the price, most of us cannot afford to have several renditions sitting in our libraries.

Because of the vitrium displayed by some reviewers over this set as well as nearly every other Emerson CD sold by Amazon, I obtained copies of several versions of specific late quartets that other reviewers have recommended. I did like the Quartetto Italiano and Takacs as well. Putting this version below The Lindsays, however, may only show that the vitrium against the Emersons is actually most likely directed toward Deutschegrammophone and their high priced offerings.

For me, this album brings back the Beethoven I imagined. Fierce, fiery, tempestuous, and in your face.

I highly recommend this album even at the relatively steep price here. I also highly recommend that you listen to some of these side by side with other interpretations if possible. You may prefer the other more traditional interpretations. But if you have listened to other Emerson recordings and found you like their style, you won't be disappointed with these.

GETTING THERE.......2005-10-21

This set divides opinion sharply, and I expect to satisfy nobody by sitting on the fence, as I honestly must. One criticism I have not noticed is that the Emersons take anything too slowly. My own impression, after taking my time over this set and playing a selection of alternatives, is that while they are generally fairly swift in allegros and prestos and don't dawdle over andantes and allegrettos, there are only 3 cases where their velocity seems likely to raise many eyebrows, namely the fugue in the 3rd Razumovsky and the outer movements of the F minor. I find them more or less exemplary in the first 10 quartets, Razumovsky fugue perhaps excepted. That accounts for 10 out of 16 (or 17 if the Grosse Fuge counts separately), which is not bad going at all. There is even one movement, the danza tedesca from op130, which is actually too slow for me.

One touchstone for how you are going to like or dislike this set comes with the very first phrase of the very first quartet. For some reason the first 3 quartets are given in the order 3,1,2, but I played them in their numeric sequence. The florid ornamental phrase at the start of the first quartet gave Beethoven trouble, and the Emersons despatch it with a gliding offhand ease that sets the scene for much else. Their technique is no doubt exceptional, but no quartet of technical slouches gets near a recording studio these days nor has done since the war, and the difference is only marginal. In the 60's there were a number of east European quartets with a particular affinity for Beethoven, and I own a selection of these. In the late quartets I have the Busches on vinyl, in remarkably good sound except for the F major; I have recently acquired the Razumovskys and the `Harp' from the Lindsays to mark their impending retirement, and these are the comparisons I have used. In the Razumovsky fugue the Emersons are unquestionably showing off, but the movement is marked `allegro molto', they are faster than the Lindsays (who should be a safe bet for anyone) by 17% or 18%, and I have no problem, although I expect to play the Lindsays more often. I have in mind readings by Richter of the finale of the Appassionata hurtled through by that great player in contempt of Beethoven's instruction not to do this, to my own disgust but to the obvious delight of many. In the circumstances I would not expect complaints when Beethoven says `allegro molto'. Otherwise tempi in the first 10 works seem unexceptional to me. Both the first movement and the adagio of the first Razumovsky are taken significantly faster than by the Lindsays, but the difference is only of the kind one finds between performances of similar movements by the major exponents of the sonatas.

Things turn more problematical from the F minor onwards. The first phrase of that is abrupt to the point of violence. I'm accustomed to greater decorum from the Hungarian Quartet, but Beethoven had a rough side to say the least and so far I can't make up my mind about the Emersons' approach. The last movement of this quartet was admired by Mendelssohn, and no wonder - he could almost have written it. The Emersons seem outstanding to me in Mendelssohn's quartets, and they seem outstanding to me here. I love the fast tempo, and the conclusion is a wonderful piece of Mendelssohnian gossamer. In the late quartets the Emersons do only one thing wrong for me - the danza tedesca in the B flat should ideally be a whirling waltz as the Busches give it, or if the players didn't want to do that they could have taken a hint from the Hungarians and flipped up the last beat of the first bar in each phrase. In the skeletal and awesome Grosse Fuge, where beauty is not part of the deal, the Emersons are as good as absolutely anyone, but I don't go along with sequencing this movement after the cavatina and stranding Beethoven's new finale after he changed his mind as an extra. This quartet is to a 6-movement format recalling the concerti grossi of Beethoven's revered Handel, and for all the Beethovenishness of the expression the shadow of Handel lies over it. Beethoven's original plan was to append a blockbuster finale, as Bach appended the chaconne to his D minor violin partita, but he decided to keep to a more Handelian model, as in any case the Grosse Fuge is viable as a freestanding work, and I see no reason to dispute his opinion.

The other late quartets are built round long slow movements containing some of the deepest and most beautiful music that any man ever wrote. There's absolutely nothing wrong with the way the Emersons express these, but I feel they perhaps have a little more living to do to allow music like this to sink into the depths of their souls, which is where it must penetrate before they can convey its real significance. Never let anyone tell you that the late quartets are obscure. They are clarity itself, and the roughness that is a barrier against coherence in some of Beethoven's middle-period works makes only one partial reappearance in the scherzo of the final quartet. The C# minor is an extended fantasia in 7 continuous movements or sections, although Professor Tovey, for whom the sonata form possessed a sacramental significance that would have made Beethoven laugh, tries to argue that the opening slow fugue and the pastorale following equate in some way to the function of his sonata form, that apparently increasing the significance of the music. The others are to the standard 4-movement format, although there is an introduction in the form of a short and very characteristic march to the finale of the A minor, as such a powerful piece should not be juxtaposed with the Lydian Song. All perfectly clear and perfectly wonderful. To hear what the Emersons have still to rise to, listen to the Lydian Song from the Busches. The main sections are absolutely immobile, and the ecstatic climax is beyond words. Again, the Emersons do very well with the andante of the C# minor, but the final variation with its `glory of trills' in Tovey's great phrase is not a patch on the Vlach Quartet's performance, nor is the finale, where the Vlachs surpass anyone I've ever heard. The lento of the last quartet doesn't have to be taken as slowly as the Busches do it, as the Janacek Quartet prove to me, but it would have done no harm either. And the climactic phrase in the cavatina of the B flat, again well and thoughtfully done by the Emersons, does not hit me in the solar plexus as it does from Adolf Busch.

The recording is excellent, and there is a lengthy and affectionate commentary. With the few exceptions I've mentioned, there is not much to criticise in this set in terms of taste or sense for the composer's style. The smooth glistening tone perhaps lacks a little in the way of variety, but I think that will come when they have internalised this great music in a few years' time. I shall make a point of living long enough to purchase their next set of the Beethoven quartets.

Beethoven: String Quartets - Borodin String Quartet (4 CDs)

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Beethoven: String Quartets - Borodin String Quartet (4 CDs)

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Dvorák: Piano Quintets, Opp. 5 & 81
Tchaikovsky: String Quartets Nos. 1 - 3/Souvenir De Florence
Twelfth Night: or, What You Will (Signet Classics)

ASIN: B000090WCC
Release Date: 2003-02-10

Tracks:

I Allegro
II Allegretto Vivace E Sempre Scherzando
III Adagio Molto E Mesto
IV Theme Russe: Allegro
I Introduzione: Andante Con Moto - Allegro Vivace
II Andante Con Moto - Allegro Vivace
III Menuetto: Grazioso
IV Allegro Molto

Tracks:

I Allegro Con Brio
II Allegretto Ma Non Troppo
III Allegro Assai Ma Serioso - Piu Allegro
IV Larghetto Espressivo - Allegro Agitato - Allegro
I Assai Sostenuto - Allegro
II Allegro Ma Non Tanto
III Molto Adagio, Andante ('Heiliger Dankgesang Eines Genesenen An Die Gottheit, In Der Lydischen Tonart'
IV Alla Marcia, Assai Vivace - Piu Allegro
V Allegro Appassionato

Tracks:

I Allegro Ma Non Tanto
II Scherzo: Andante Scherzoso Quasi Allegretto
III Menuetto: Allegretto
IV Allegro - Prestissimo
I Allegro
II Menuetto
III Andante Cantabile
IV Allegro

Tracks:

I Adagio Ma Non Troppo - Allegro
II Presto
III Andante Con Moto, Ma Non Troppo
IV Alla Danza Tedesca (Allegro Assai)
V Cavatina (Adagio Molto Espressivo)
Grosse Fuge In B Flat Major, Op. 133
VI Finale (Allegro)

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Beethoven: Complete String Quartets
Juilliard String Quartet
Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

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The Beethoven Quartet Companion
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Complete String Quartets
Beethoven: String Quartets Op. 18
Schubert: The String Quartets

ASIN: B00006OA6A
Release Date: 2002-11-11

Tracks:

1-4 String Quartet No.1 In F Major, Op. 18 No.1
5-8 String Quartet No.2 In G Major, Op.18 No.2
9-12 String Quartet No.3 In D Major, Op.18 No.3
1-4 String Quartet No.4 In D Minor, Op. 18 No.3
5-8 String Quartet No.5 In A Major, Op.18 No.5
9-12 String Quartet No.6 In B-Flat Major, Op.18 No.6
1-4 String Quartet No.7 In F Major, Op.59 No.1
1-4 String Quartet No.8 In E Minor, Op.59 No.2
5-8 String Quartet No.9 In C Major, Op.59 No.3
1-4 String Quartet No.10 In E-Flat Major, Op. 74 "Harp"
5-8 String Quartet No.11 In F Minor Op.95
1-4 String Quartet No.12 In E-Flat Major, Op.127
5-11 String Quartet No.13 In C-Sharp Minor, Op. 131
1-7 String Quartet No.14 In B-Flat Major, Op. 130
1-5 String Quartet No.15 In A Minor, Op.132
6-9 String Quartet No.16 In F Major, Op. 135

Beethoven: "Razumovsky" Quartets, Op. 59 [Hybrid SACD]

Average customer rating:

The renewed Tokyp Qt. is better than ever
Silken sound, polished playing

Beethoven: "Razumovsky" Quartets, Op. 59 [Hybrid SACD]

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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Mozart: Piano & Violin Sonatas [Hybrid SACD]
Beethoven: Complete Sonatas & Variations [Hybrid SACD]

ASIN: B000BRFACA
Release Date: 2006-01-10

Tracks:

Allegro
Allegretto Vivace E Sempre Scherzando
Adagio Molto E Mesto
Theme Russe: Allegro
Allegro
Molto Adagio
Allegretto
Finale: Presto

Tracks:

Introduzione: Andante Con Moto - Allegro Vivace
Andante Con Moto Quasi Allegretto
Menuetto: Grazioso
Finale: Allegro Molto

Customer Reviews:

The renewed Tokyp Qt. is better than ever.......2007-01-15

I hipe these new recordings of the three Rasumovsky Quartets find an enthusiastic audience. After the retirement of first violinist Peter Oundjian from an injury, the Tokyo Qt. went through a transition, but they have emerged sounding better than ever, particularly in these well recorded CDs. Always known for tonal beauty and pinpoint ensemble, the Tokyp has qcquired more maturity and depth while retaining a romantic stance that's a little old-fashioned. Their expressivity stands in marked contrast to the steel polish of the Emersons and the too-fierce attack of the Takacs (now going thourhg a transition with a new violist).

I was going to write a comparative article on the Rasumovsky sets from seven different groups, but in the end I didn't have enough praise for the Guarneri, Takacs, Juilliard, or Emerson performances. For real depth and tonal beauty combined, I favor the Alban Berg over all comers. For Middle European solidity at a bargain price, the Kodaly Qt. on Naxis is quite good. For Russian musicianship at its finest, the Borodins are wonderful despite absurdly over-resonant recordings that make them sound biger than life. the new Tokyp set is right up there, however. For me, these are the best new Rasumovskys in decades.

Silken sound, polished playing.......2006-09-08

The Tokyo quartet, now restaffed since its original cycle of the Beethoven quartets, gives a silky, elegant performance of the Razoumovsky quartets on this 2-CD set. I really wallow in the sound, especially in the opening of Op. 59, no. 1, where the cello solo gratifyingly reaches into the deep dark colors of the cello and resonates. Bravo! No one can touch this except the Quartetto Italiano. Otherwise, there is a little more restraint, emotionally, than I like with these very romantic pieces. The Razoumovsky quartets are unrivalled for sheer beauty and richness of conception and sound. This recording is more memorable for its clean, elegant qualities than for any new realization of the pieces or distinctive emotional insight. Still, if you relish the sound of super audio CDs (and these are hybrid discs you can play on any CD player - I tried it), you will find these polished renditions are well worth the extremely reasonable price.

Beethoven: The String Quartets/ Grosse Fuge

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The Guarneri Beethoven--A Transcendental Bargain
Studied, unyielding performances in badly dated sound
The Guarneri Quartet Plays Beethoven
A Treasure
The Guarneri Quartet does the best BEETHOVEN

Beethoven: The String Quartets/ Grosse Fuge

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Beethoven: Complete String Quartets

ASIN: B00011MK6U
Release Date: 2004-03-09

Tracks:

Allegro Con Brio
Adagio Affettuoso Ed Appassionato
Scherzo: Allegro Molto; Trio
Allegro
Allegro
Adagio Cantabile; Allegro
Scherzo: Allegro; Trio
Allegro Molto Quasi Presto
Allegro
Andante Con Moto
Allegro
Presto

Tracks:

Allegro Ma Non Tanto
Scherzo: Andante Scherzoso Quasi Allegretto
Menuetto: Allegretto; Trio
Allegro; Prestissimo
Allegro
Menuetto; Trio
Andante Cantabile; Variazioni 1-5; Poco Adagio
Allegro

Tracks:

Allegro Con Brio
Adagio Ma Non Troppo
Scherzo: Allegro; Trio
La Malincolia: Adagio; Allegretto Quasi Allegro: Prestissimo
Allegro
Allegretto Vivace E Sempre Scherzando
Adagio Molto E Mesto
Theme Russe: Allegro

Tracks:

Allegro
Molto Adagio
Allegretto
Finale: Presto
Introduzione: Andante Con Moto; Allegro Vivace
Andante Con Moto Quasi Allegretto
Menuetto: Grazioso
Allegro Molto

Tracks:

Poco Adagio Allegro
Adagio Ma Non Troppo
Presto: Piu Presto Quasi Prestissimo
Allegretto Con Variazioni
Allegro Con Brio
Allegretto Ma Non Troppo
Allegro Assai Vivace Ma Serioso
Larghetto Espressivo; Allegretto Agitato

Tracks:

Assai Sostenuto; Allegro
Allegro Ma Non Tanto
Heiliger Dankgesang eines Genesenen An Die Gottheit, In Der Lydischen Tonart: Molto Adagio; Neue Kraft Fuhlend: Andante
Alla Marcia, Assai Vivace
Allegro Appassionato
Grande Fugue Op.133

Tracks:

Adagio, Ma Non Troppo E Molto Espressivo
Allegro Molto Vivace
Allegro Moderato
Andante, Ma Non Troppo E Molto Cantabile
Presto
Adagio Quasi Un Poco Andante
Allegro
Maestoso; Allegro
Adagio; Ma Non Troppo E Molto Cantabile
Scherzando Vivace: Presto
Finale: Allegro Con Moto

Tracks:

Adagio, Ma Non Troppo; Allegro
Presto
Andante Con Moto, Ma Non Troppo
Alla Danza Tedesca: Allegro Assai
Cavatina: Adagio Molto Espressivo
Finale: Allegro
Allegretto
Vivace
Lento Assai, Cantante E Tranquillo
Der Schwer Gefasste Entschluss: Frage, Ma Non Troppo Tratto; Allegro

Customer Reviews:

The Guarneri Beethoven--A Transcendental Bargain.......2007-01-10

It's been many years since I last attempted a journey through the complete Beethoven Quartets. I'm not sure if my musical tastes have matured that much or whether the playing by the Quarneri Quartet on RCA is that good, but they have now convinced me that these Beethoven Quartets are pieces that I will return to regularly for enjoyment. The Shostakovich Quartets still speak to me on a more personal level, and I still struggle to figure out the middle Bartok Quartets. The Beethoven set by the Alban Berg Quartet on EMI 73606 has served as a great complement to the Quarneri performances, and I now I can highly recommend either one (better both) of these unbelievable bargains to those wanting to better appreciate the Beethoven String Quartets.

Studied, unyielding performances in badly dated sound.......2006-01-12

After a glorious decade of Living Stereo, RCA entered the Dynagroove era with some of the worst sound ever recorded by a major label. The Guarneri suffered badly from this--these Beethoven quartets sound dry, cramped, and charmless. I vividly remember the early excitement over this group. They were heirs to the intellectual style of quartet playing represented by the Budapest Quartet, and as individual musicians, these young graduates of Curtis, who also played every summer at Marlboro, were pre-anointed.

Now the picture is rather different. The Guarneri remains a top-flght group, but they haven't turned into resplendent artists (a TV film documentary from the late Nineties shows that they are thoroughly sick of each other personaly; some members barely speak outside rehearsal.) Their Beethoven doesn't sing and is much too studied. Beethoven quartets must communicate several things at once, and the Guarneri are excellent at some of them: ensemble, individual technique, serious purpose, classical balance. But without spontaneity and inspiration, those qualities lie on fallow ground. One minute of exposure to the Alban Berg's live Beethoven cycle on EMI (not caught in the best sound, either) reveals how much more joyful and singing these great works can be. At the risk of offending the Guarneri's many fans, these readings only go halfway to the mark.

The Guarneri Quartet Plays Beethoven.......2005-08-18

I recently spent several days at home recovering from minor surgery and took the opportunity to revist the Beethoven string quartets and the Beethoven piano sonatas. I thought the quartets would be especially appropriate to hear in recovering from surgery. I looked forward particularly to revisiting the "Holy Song of Thanksgiving to the Deity by a Convalscent,in the Lydian Mode", the third movement of the opus 132 quartet which Beethoven wrote when he recovered from an illness far worse than that which plagued me. There is, perhaps, a similar feeling expressed in the slow, hymnlike movement of the second Razumovsky Quartet, opus 59 no.2.

Hearing the music made me appreciate not only my health but also the opportunities I have enjoyed to get to know the quartets. Many years ago, I first heard the quartets live played by the Fine Arts Quartet when it was the quartet-in-residence at the University of Wisconsin -- Milwaukee. I subsequently acquired the Fine Arts Quartet's excellent recording of the entire cycle. Then, while living in Washington D.C. for thirty years, I have had many opportunities to hear the Juilliard String Quartet, and other ensembles, perform the Beethoven quartets at the Library of Congress, probably the best musical venue in what is a musical capital city.

To rehear the quartets, I chose a recent reissue of the cycle by the Guarneri Quartet. I have never heard the Guarneri's live before, even though the quartet is in residence at the nearby University of Maryland. The group has been playing together since 1965 and is deservedly revered. The ensemble plays with a lyrical, songlike and expressive character, with a flow, a grace, and a feel of gemuitlicheit that brought me new insights into this music. It is an outstanding recording of the quartet cycle. In a detailed review of the Guarneri's performance of the cycle on MusicWeb, Paul Shoemaker justly wrote that "If there's a better version of these quartets, I've not heard it."

As do the piano sonatas, Beethoven's 16 quartets allow the listener to experience the development and deepening of his style from his early period, to the period of maturity, to the final works at the end of his life. But the quartets are evenly divided between Beethoven's three major compositional periods while the piano sonatas are somewhat weighted towards the composer's earlier years. In addition, Beethoven composed his quartets in three rather continuous blocks, giving each group a distinctive character, while the piano sonatas were written more continuously in Beethoven's career and tend to meld and flow more easily from one period to another.

In recovering from an illness, I thought while listening of how the quartets deal in their different ways with human pain. Beethoven composed his first series of six quartets, opus 18, as a young man in his late 20s who was full of hope and optimism, aware of his extraordinary gifts and of his ability to realize them in his music. These works are in the style of Haydn and Mozart but show a Beethoven intent on developing a voice of his own. They are optimistic, powerful works full of confidence but with hints of sadness and depths in the slow movement of the first quartet and in the "La Malinconia" section of the fourth movement of the sixth quartet. In my listening, I spent more time revisiting this first group of quartets than I had anticipated.

The second group of quartets include the three "Razumovsky" quartets of opus 59 written in 1806 together with the "Harp" and "Serioso" quartets written somewhat later. These are large, inspiring works from Beethoven's "heroic" period and the best known of his quartets. They show a composer who has known difficulty and disappointment, in his growing deafness, his health, and in his failure to form a lasting loving and sexual relationship with a woman, who tries to overcome his problems through strength, hope and will. These are large-scale inspiring works. I spent most of my time in this group with the second quartet of opus 59, with the poignant slow movement of the third quarted of opus 59 and, surprisingly, with the radiant lyricism of the "harp" quartet, opus 74.

Beethoven's final compositions consist of the last five quartets, opus nos. 127, 130, 131, 132, 135, together with the "Great Fugue" opus 133. This is deep and complex music in which Beethoven moves beyond suffering and struggle to various forms of recognition and acceptance. In rehearing this music as played by the Guarneri Quartet, I was taken by its lyricism, the many songs, dances, and marches in these quartets interlaced with the more forbidding fugues. The Guarneri Quartet has the rare virtue of not taking itself too seriously. I have already mentioned the "Hymn of Thanksgiving" in the opus 132 quartet. I also listened a great deal to the opus 127 quartet, which opens with inspiring chords and is a mixture of the resolute and the reflective, and to the final quartet, opus 135. This is the shortest quartet of the final five and shows Beethoven finding his answer to human suffering in the form of comedy and laughter rather than tragedy (think of the laughing Buddha). I also thought about the ending Beethoven wrote, after completing opus 135, to replace the "Great Fugue" in opus 130. It seemed to me that he had acted wisely and correctly by bringing this quartet to a light, almost comedic, conclusion.

It is not a pleasant experience to be in recovery, but I was grateful for the opportunity to hear the Guarneri Quartet and to revisit the Beethoven string quartets. This is music that speaks to the heart of listeners at different times and stages of life. I suggest that listeners coming to the quartets for the first time (or after many times) also read a good overview to Beethoven's life and music. I recommend Lewis Lockwood's "Beethoven: The Music and the Life" (2003). This study places Beethoven's achievement in its historical and musical context and includes lengthy treatments of each of the three groups of string quartets.

Robin Friedman

A Treasure.......2004-07-24

Beethoven like it's never played anymore. This is old world quartet playing -- warm, detailed phrasing and an emphasis on tonal beauty. Rather than choosing one blazing tempo and plowing head first through a movement (Emerson, Alban Berg Quartets), the Guarneri utilize a wider dynamic range. They are not afraid to slow down to bring out detail and drama, or speed up to get the blood pumping (the last mvt of op59-3 is the fastest of the 11 versions I have).

The sound quality is superb, one of the best quartet cds I have ever heard. I agree with the reviewer below, it sounds like the players are in your living room. These are late 1960s recordings that RCA originally released on CD in the late 80s on their Gold Seal label. I am aware that many complained about the sound quality of the earlier release. However, this release has been newly remastered in 2003 using 20 bit technology and the results are astounding. Indeed, if you have the older CDs, you may want to buy this one as a replacement. Enjoy.

The Guarneri Quartet does the best BEETHOVEN.......2004-04-30

I have always loved the Guarneri Quartets Beethoven recordings of the 1960s.
Believe me it is a crowded field out there with a lot of wonderful versions, but I've always thought their interpretations were as good if not better than the Quartetto, Lindsey, Italiano, Vegh, Talich or Medici versions. I have found that the Guarneri Quartet has provided an outstanding escort to these wonderful journeys, the genuine straightforwardness of their playing along with their unrivaled execution, and rich intonation helps to make the Beethoven quartets a extremely poignant experience every time I hear them. In a word, these performances are close to perfection. The Guarneri Quartet really understand what the music is about, they are playing more than just the notes.
The recordings are good (thanks to engineer Richard Gardner) and with the fantastic re-mastering job, the recordings now sound superb, with excellent presence and definition. The instruments are closely miked and the sound is nice and dry (it sounds like they are playing in your living room) so that the performances can be fully enjoyed. These recordings are vibrant and exciting! Even the CD layout has been improved so that the great Opus 127 is no longer split over two discs.
Instead of three sets, totaling nine discs and costing well over one hundred, it has been condensed to one complete slim line box set with eight discs and costing about half the price!

Highly recommend!!

Average customer rating:

Technically flawless, but lacking emotionally
Charming performances, good sound, budget packaging
Stay away from this cycle
Beethoven: The String Quartets
Simply The Best Ever Recording of Beethoven String Quartets

Beethoven: The String Quartets

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Beethoven: The Violin Sonatas
Mozart: The Violin Sonatas
Brahms: Complete String Quartets, Quintets & Sextets
Schubert: The String Quartets
Schubert: The Piano Sonatas

ASIN: B00002DEH2
Release Date: 2000-10-10

Tracks:

String Quartet In F Major, Op. 18 No. 1: Allegro con brio
String Quartet In F Major, Op. 18 No. 1: Adagio affettuoso ed appassionato
String Quartet In F Major, Op. 18 No. 1: Scherzo. Allegro molto
String Quartet In F Major, Op. 18 No. 1: Allegro
String Quartet In G Major, Op. 18 No.2: Allegro
String Quartet In G Major, Op. 18 No.2: Adagio cantabile - Allegro - Tempo I
String Quartet In G Major, Op. 18 No.2: Scherzo. Allegro
String Quartet In G Major, Op. 18 No.2: Allegro molto quasi Presto
String Quartet In D Major, Op. 18 No.3: Allegro
String Quartet In D Major, Op. 18 No.3: Andante con moto
String Quartet In D Major, Op. 18 No.3: Allegro
String Quartet In D Major, Op. 18 No.3: Presto

Tracks:

String Quartet In C Minor, Op. 18 No. 4: Allegro ma non tanto
String Quartet In C Minor, Op. 18 No. 4: Scherzo. Andante scherzoso quasi Allegretto
String Quartet In C Minor, Op. 18 No. 4: Menuetto. Allegretto
String Quartet In C Minor, Op. 18 No. 4: Allegro - Prestissimo
String Quartet In A Major, Op. 18 No. 5: Allegro
String Quartet In A Major, Op. 18 No. 5: Menuetto
String Quartet In A Major, Op. 18 No. 5: Andante cantabile. Thema - Variationen I-V - Coda. Poco Adagio
String Quartet In A Major, Op. 18 No. 5: Allegro
String Quartet In B Flat Major, Op. 18 No. 6: Allegro con brio
String Quartet In B Flat Major, Op. 18 No. 6: Adagio ma non troppo
String Quartet In B Flat Major, Op. 18 No. 6: Scherzo. Allegro
String Quartet In B Flat Major, Op. 18 No. 6: La Malinconia. Adagio - Allegretto quasi Allegro

Tracks:

String Quartet In F Major, Op. 59 No.1: Allegro
String Quartet In F Major, Op. 59 No.1: Allegretto vivace e sempre scherzando
String Quartet In F Major, Op. 59 No.1: Adagio molto e mesto - attacca
String Quartet In F Major, Op. 59 No.1: Theme russe. Allegro
String Quartet In E Minor, Op. 59 No.2: Allegro
String Quartet In E Minor, Op. 59 No.2: Molto Adagio. Si tratta questo pezzo con molto di sentimento
String Quartet In E Minor, Op. 59 No.2: Allegretto
String Quartet In E Minor, Op. 59 No.2: Finale. Presto

Tracks:

String Quartet In C Major, Op. 59 No.3: Introduzione. Andante con moto - Allegro vivace
String Quartet In C Major, Op. 59 No.3: Andante con moto quasi Allegretto
String Quartet In C Major, Op. 59 No.3: Menuetto. Grazioso - attacca:
String Quartet In C Major, Op. 59 No.3: Allegro molto
String Quartet In E Flat Major, Op. 74 'Harp': Poco Adagio - Allegro
String Quartet In E Flat Major, Op. 74 'Harp': Adagio ma non troppo
String Quartet In E Flat Major, Op. 74 'Harp': Presto - attacca:
String Quartet In E Flat Major, Op. 74 'Harp': Allegretto con Variazioni

Tracks:

String Quartet In F Minor, Op. 95: Allegro con brio
String Quartet In F Minor, Op. 95: Allegretto ma non troppo - attacca:
String Quartet In F Minor, Op. 95: Allegro assai vivace ma serioso
String Quartet In F Minor, Op. 95: Larghetto espressivo - Allegretto agitato
String Quartet In E Flat Major, Op. 127: Maestoso - Allegro
String Quartet In E Flat Major, Op. 127: Adagio, ma non troppo e molto cantabile - Andante con moto - Adagio molto espressivo
String Quartet In E Flat Major, Op. 127: Scherzando vivace - Presto
String Quartet In E Flat Major, Op. 127: Finale
Great Fugue In B Flat Major, Op. 133: Overtura. Allegro - Fuga:
Great Fugue In B Flat Major, Op. 133: Meno mosso e moderato
Great Fugue In B Flat Major, Op. 133: Allegro molto e con brio
Great Fugue In B Flat Major, Op. 133: Meno mosso e moderato
Great Fugue In B Flat Major, Op. 133: Allegro molto e con brio
Great Fugue In B Flat Major, Op. 133: Allegro

Tracks:

String Quartet In B Flat Major, Op. 130: Adagio ma non troppo - Allegro
String Quartet In B Flat Major, Op. 130: Presto
String Quartet In B Flat Major, Op. 130: Andante con moto, ma non troppo
String Quartet In B Flat Major, Op. 130: Alla danza tedesca. Allegro assai
String Quartet In B Flat Major, Op. 130: Cavatina. Adagio molto espressivo - attacca:
String Quartet In B Flat Major, Op. 130: Finale. Allegro
String Quartet In C Sharp Minor, Op. 131: Adagio, ma non troppo e molto espressivo - attacca:
String Quartet In C Sharp Minor, Op. 131: Allegro molto vivace - attacca:
String Quartet In C Sharp Minor, Op. 131: Allegro moderato - attacca:
String Quartet In C Sharp Minor, Op. 131: Andante, ma non troppo e molto cantabile - Andante moderato e lusinghiero - Adagio - Allegretto - Adagio, ma non troppo e semplice - Allegretto
String Quartet In C Sharp Minor, Op. 131: Presto - Molto poco adagio - attacca:
String Quartet In C Sharp Minor, Op. 131: Adagio quasi un poco andante - attacca:
String Quartet In C Sharp Minor, Op. 131: Allegro

Tracks:

String Quartet In A Minor, Op. 132: Assai sostenuto - Allegro
String Quartet In A Minor, Op. 132: Allegro ma non tanto
String Quartet In A Minor, Op. 132: Heiliger Dankgesang eines Genesenden an die Gottheit, in der lydischen Tonart. Molto adagio - Neue Kraft fuhlend. Andante - Molto adagio - Andante - Molto adagio. Mit innigster Empfindung
String Quartet In A Minor, Op. 132: Alla marcia, assai vivace - Piu allegro - attacca:
String Quartet In A Minor, Op. 132: Allegro appassionato
String Quartet In F Major, Op. 135: Allegretto
String Quartet In F Major, Op. 135: Vivace
String Quartet In F Major, Op. 135: Lento assai e cantante tranquillo
String Quartet In F Major, Op. 135: Der schwer gefaBte EntschluB. Grave (MuB es sein?) - Allegro (Es muB sein!) - Grave, ma non troppo tratto - Allegro

Customer Reviews:

Technically flawless, but lacking emotionally.......2007-03-29

I recently rented a copy of this set from the library just to see how the Amadeus quartet managed it...I have some of their other recordings, including their Brahms chamberworks survey, the complete Mozart quartets, selections of Haydn's late quartets, and a great version of Dvorak's "American". Having thoroughly enjoyed their playing on these other discs, I figured it couldn't hurt to sample their Beethoven. Well, I should have known better...I disliked this set for the exact same reasons I enjoyed their work with Mozart and Haydn - the performances felt overly smooth and overall lacking in terms of feeling. A great example of this would be the opening movement of Op. 130, at about the 1min. mark, when the allegro kicks in - it just sounds calculated and contrived to me.

I feel this way about a lot of sections (Op. 59 no. 3, finale, Op. 59 no. 2 Scherzo, Op. 74 intro, many of the late quartets) - similarly to my criticisms of Quartetto Italiano - where the overly glossy sheen detracts from the inherent conflict in the works, especially in the middle quartets. That being said, this approach really helps for the 6 quartets Op. 18, these actually being the best renditions I've heard.

One positive note amidst my criticisms: Beethoven's musical architecture is clearly audible here and very transparent (unlike Italiano, who sacrifice symmetry in favor of warm, genial sound). Still, if you are buying this set for the famous Middle and Late quartets, there are numerous better options available to you: the Takacs quartet (amazing), Talich quartet (a great budget set-really a great set at any price), Alban Berg (a tour-de-force in technique) and the Lindsay quartet (not as techincally sound, but warm & passionate readings).

A note about recording quality: not great. The lead violin is at times obnoxiously whiny and overbearing, and the cello is very quiet, though still audible.

To sum up - these performances are a good example of the polished, smooth performances of the 50s - 60s, and are a good reference as such. But other ensembles have had far more insightful approaches to these masterworks than the Amadeus quartet did, such as the Budapest quartet readings (also older recordings). Not bad as a budget set, but there are better alternatives out there.

Charming performances, good sound, budget packaging.......2007-02-21

I have little to add to the positive reviews below. The performances are inspired. And listening on audiophile headphones with a dedicated headphone amplifier, I find the recording quality to be quite good, especially considering the age of these recordings. (These performances were originally recorded in the early 1960s.)

The packaging consists of a clamshell cardboard box containing the discs, which are in individual paper sleeves. There is a fair booklet of essays about the compositions. This is certainly budget packaging, but at least it doesn't take up incredible volumes of space to house the seven CDs.

As this CD set is currently discounted as part of Amazon's "classical blowout," it's hard to beat the value. Enjoy!

Stay away from this cycle.......2007-02-18

These recordings have aged very badly. These are the most terrible performances of Beethoven's quartets I've ever heard, played without any heart, and no respect for Beethoven's markings. Worst of all the DG sound quality is one of their most unpleasant, so dry and unflattering that the high violin is painful to the ears. The Amadeus Quartet should have stuck to Mozart and Haydn.

As another reviewer on Amazon.co.uk states:

"The quartets were recorded in stages during the early 1960's. As such, they do not stand up to modern state of the art recordings. This disappointed me. I wanted to have the glory of Beethoven wrapped in a sumptuous wave of audiophile quality. These are period recordings and you can tell. They would have been acceptable in their day, but not now. The sound is brittle and one-dimensional, lacking the depth and warmth of wooden stringed instruments. At times, the higher registers of the lead violin are penetrating and harsh. The cello is barely discernible and only makes its presence felt during bouts of heavy bowing. It is generally difficult to separate the four instruments, thus spoiling a major reason for enjoying such pieces. Recent listening to Radio 3's lunchtime concerts has demonstrated how these string quartets should sound, ignoring individual interpretations. Some discs are better than others, but overall fall well short of modern standards."

Here's what Gramophone magazine said of these performances:

"In Beethoven they were at their best in the early quartets, which had a freshness and unaffected naturalness showing them in the finest light. But, in retrospect, the same smooth approach to the middle and later quartets brings an element of blandness. The Adagio of the first Razumovsky Quartet is very beautiful on the surface, the playing undoubtedly concentrated, but one senses a missing dimension. There is surely a greater depth in the music than they discover, and the same comment applies to the opening of the Harp Quartet, with its dramatic strokes somehow sounding calculated."

This set contains some of the cheapest packaging around with cardboard sleeves that scratch the CDs. The box wears very quickly and can't be replaced unless you buy another set, which I obviously don't recommend.

Buy the Takacs, Lindsays, or Emerson versions instead, as they're in are class of their own.

Beethoven: The String Quartets.......2007-01-10

This is an affordable reissue of the Amadeus Quartet's classic recordings of the complete Beethoven string quartets. The music is essential to any collection of chamber music, and the performances of the late quartets, perhaps the finest string quartets ever written, are beautifully done. The performance of the A minor Quartet (opus 132) is especially moving. The quality of the recording is quite good for a budget-priced reissue, and the interpretations of the music by the Amadeus Quartet are outstanding.

Simply The Best Ever Recording of Beethoven String Quartets.......2006-02-16

I grew up listening to many different recordings of this acclaimed Beethoven Cycle. I have admired Alban Berg Quartet (live EMI), Tokyo String Quartet and Guarneri Quartet recordings, but the warmth of the Amadeus Quartet sound in this recording and their interpretation is truly astonishing. I recommend this to anyone who really wants to understand the depth and complexity of possibly Beethoven best compositions.

Beethoven: Key to the Quartets / Emerson String Quartet

Average customer rating:

Beethoven: Key to the Quartets / Emerson String Quartet

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Mozart: String quartets K. 465 "Dissonance", K. 458 "The Hunt" & K. 421
Mozart: String Quartets KV387 and KV421
Dvorák, Tchaikovsky, Borodin: Quartets
Emerson Encores
Haydn: String Quartets Op. 76, Nos. 1-3

ASIN: B0000041KW
Release Date: 1997-03-11

Tracks:

Op. 18, No. 4: I. Allegro
Op. 18, No. 1: II. Adagio
Op. 18, No. 5: II. Menuetto
Op. 59, No. 3, 'Razumovsky': IV. Finale
Op. 74, 'Harp': I. Adagio - Allegro
Op. 95, 'Serioso': I. Allegro
Op. 132: III. Heiliger Dankgesang
Op. 130: II. Presto
Op. 130: IV. Alla danza tedesca
Op. 130: V. Cavatina
Op. 135: IV. Finale

Average customer rating:

Absolutely top class
Very special
Marvelous, just marvelous
Magnificent Reading of Challenging Music
Warm, excellent performances

Beethoven: Complete String Quartets
Ludwig van Beethoven , and Le Quatuor Talich
Manufacturer: Calliope France
ProductGroup: Music
Binding: Audio CD

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Tchaikovsky: Symphonies Nos. 1-6
Mozart: The Six String Quintets
Shostakovich: Symphony No. 10, Stravinsky: Concerto in D for Violin and Orchestra
Leos Janácek: Cunning Little Vixen (Suite) / Sinfonietta / Schluck & Jau / Jealousy (Original Prelude) / Kát'a Kabanová (Overture & Interludes) / Taras Bulba / Sárka (Overture) - Sir Charles Mackerras / Czech Philharmonic Orchestra
EMI Great Recordings of Century - Brahms: Symphonies Nos. 1-4/Klemperer

ASIN: B00004YX0R
Release Date: 2000-10-10

Tracks:

Qt in F, Op.18 No.1: Allegro Con Brio
Qt in F, Op.18 No.1: Adagio Affetuoso Appassionato
Qt in F, Op.18 No.1: Scherzo (Allegro Molto)
Qt in F, Op.18 No.1: Allegro
Qt in G, Op.18 No.2 'Compliment-Qt': Allegro
Qt in G, Op.18 No.2 'Compliment-Qt': Adagio Cantabile - Allegro
Qt in G, Op.18 No.2 'Compliment-Qt': Scherzo (Allegro)
Qt in G, Op.18 No.2 'Compliment-Qt': Allegro Molto Quasi Presto
Qt in D, Op.18 No.3: Allegro
Qt in D, Op.18 No.3: Andante Con Moto
Qt in D, Op.18 No.3: Allegor
Qt in D, Op.18 No.3: Presto

Tracks:

Qt in c, Op.18 No.4: Allegro Ma Non Tanto
Qt in c, Op.18 No.4: Andante Scherzo Quasi Allegretto
Qt in c, Op.18 No.4: Menuetto (Allegretto)
Qt in c, Op.18 No.4: Allegro
Qt in A, Op.18 No.5: Allegro
Qt in A, Op.18 No.5: Menuetto
Qt in A, Op.18 No.5: Andante Cantabile
Qt in A, Op.18 No.5: Allegro
Qt in B flat, Op.18 No.6 'La Malinconia': Allegro Con Brio
Qt in B flat, Op.18 No.6 'La Malinconia': Adagio Ma Non Troppo
Qt in B flat, Op.18 No.6 'La Malinconia': Scherzo (Allegro)
Qt in B flat, Op.18 No.6 'La Malinconia': Adagio: La Malinconia - Allegretto Quasi Allegro...

Tracks:

Grande Fugue in B flat, Op.133
Qt No.11 in f, Op.95: Allegro Con Brio
Qt No.11 in f, Op.95: Allegretto Ma Non Troppo
Qt No.11 in f, Op.95: Allegro Assai Vivace Ma Serioso
Qt No.11 in f, Op.95: Larghetto Esperessivo - Allegro Agitato
Qt No.12 in E flat, Op.127: Maestoso - Allegro
Qt No.12 in E flat, Op.127: Adagio Ma Non Troppo E Molto Cantabile
Qt No.12 in E flat, Op.127: Scherzando Vivace
Qt No.12 in E flat, Op.127: Finale

Tracks:

Qt No.10 in E flat, Op.74: Poco Adagio - Allegro
Qt No.10 in E flat, Op.74: Adagio Ma Non Troppo
Qt No.10 in E flat, Op.74: Presto
Qt No.10 in E flat, Op.74: Allegro Con Variazioni
Qt No.7 in F, Op.59 No.1: Allegro
Qt No.7 in F, Op.59 No.1: Allegretto
Qt No.7 in F, Op.59 No.1: Adagio Molto E Mesto - Allegro

Tracks:

Qt No.13 in B flat, Op.130: Adagio Ma Non Troppo - Allegro
Qt No.13 in B flat, Op.130: Presto
Qt No.13 in B flat, Op.130: Andante Con Moto Ma Non Troppo
Qt No.13 in B flat, Op.130: A La Danza Tedesca (Allegro Assai)
Qt No.13 in B flat, Op.130: Cavatine (Adagio Molto Espressivo)
Qt No.13 in B flat, Op.130: Finale: Allegro
Qt No.8 in E, Op.59 No.2: Allegro
Qt No.8 in E, Op.59 No.2: Molto Adagio
Qt No.8 in E, Op.59 No.2: Allegretto
Qt No.8 in E, Op.59 No.2: Finale: Presto

Tracks:

Qt No.14 in c#, Op.131: Adagio Ma Non Troppo E Molto Expressivo
Qt No.14 in c#, Op.131: Allegro Molto Vivace
Qt No.14 in c#, Op.131: Allegro Moderato - Adagio - Piu Vivace
Qt No.14 in c#, Op.131: Andante Ma Non Troppo E Molto Cantabile
Qt No.14 in c#, Op.131: Presto
Qt No.14 in c#, Op.131: Adagio Quasi Un Poco Andante
Qt No.14 in c#, Op.131: Allegro
Qt No.9 in C, Op.59 No.3: Andante Con Moto - Allegro Vivace
Qt No.9 in C, Op.59 No.3: Andante Con Moto Quasi Allegretto
Qt No.9 in C, Op.59 No.3: Menuetto
Qt No.9 in C, Op.59 No.3: Allegro Molto

Tracks:

Qt No.16 in F, Op.135: Allegretto
Qt No.16 in F, Op.135: Vivace
Qt No.16 in F, Op.135: Lento Assai, Cantate E Tranquillo
Qt No.16 in F, Op.135: Grave Ma Non Troppo Tratto - Allegro
Qt No.15 in a, Op.132: Assai Sostenuto - Allegro
Qt No.15 in a, Op.132: Allegro Ma Non Troppo
Qt No.15 in a, Op.132: Molto Adagio
Qt No.15 in a, Op.132: Alla Marcia, Assai Vivace - Piu Allegro - Finale

Customer Reviews:

Absolutely top class.......2005-08-20

I really can't understand the previous comment about "period instruments". The instruments used for these interpretations ARE such:

Violin : Petr Messiereur (Peter Guarnerius, 1703)
Violin : Jan Kvapil (Laurentius Guadagnini, 1741)
Viola : Jan Talich (Laurentius Guadagnini, 1742)
Cello : Evzen Rattay (Stradivarius, 1690)

"Of course", this information is not available at the poor booklet that comes with the box.
I think this recording is one of the greatest around, right after the legendary Vlach and Vegh interpretations- which are, quite unfortunately, both rather poorly recorded.
This cycle is both finely recorded (analogue at its best) and fantastically interpreted- so it deserves 6 stars for the preformance and 2 stars for the package. The average does not sum up to 5, but I do give 5 stars, simply because a better compromise is simply impossible to find...

Very special.......2005-06-07

No doubt quite good interpretations. They are non the less also some of the most peculiar. That is perhaps partly due to the engineering, the ambience of the sound, but also to the playing style. This quartet sounds different from all other quartets I have ever heard. The bow on the strings often sounds very ugly, like somebody filing some metal. It is something feverish about it, at the same time something frail. It makes me think of sunshine stinging in the eyes. Suffice it to say that it is nothing fleshy about the sound of this quartet. Tempos are mostly brisk, the touch is light - in spite of the filing sound, which also can be described as a thin, withered, squeaky sound. Summa summarum: This quartet gives a so peculiar atmosphere to the Beethoven quartets that it is no point in comparing to other quartets, just as summer cannot feel like winter. This is summer. Summer heat, sultry, close, smoky, of barbeque or rubbish fire of withered leaves... I feel that these recordings are quite aristocratic, of very good taste, delicate, intimate. This has nothing to do with "old world", as both the Alban Berg quartet and Quartetto Italiano are (were?) "old world" and yet a far cry from Talich. I love to have this one in my collection, because it gives something not any other quartet gives.
Not my first choice, however, I would rather go for Takacs (op. 18), Takacs or Tokyo (middle quartets). To me, Tokyo rules when it comes to the late quartets, but that's me. I guess most people will prefer the Takacs quartet all the way, with the exception of the Quartetto Italiano congregation. Talich is something special, but very good as such.

Marvelous, just marvelous.......2004-02-11

There's no need for italics when playing Beethoven. The music will speak for itself just fine, and that's just the approach Talich has chosen. These guys are as good, technically speaking, as anybody but what stands out is how unassuming they are. None of that "look Ma, see how fast I can play" that we get from the Emersons. Anyway, this is the set for you. Yes, I've heard others -- Italiano, Budapest, Guarneri, and Tokyo -- and the Talich has them beat across the full cycle of 16.

Magnificent Reading of Challenging Music.......2004-02-05

I'm normally a period-instrument listener, almost to the exclusion of everything else. There is no complete cycle of Beethoven's string quartets on period instruments, so I hunted around for a good modern instrument set, and was directed to this one. I am thrilled with the result. The Quatuor Talich give a magnificent reading of this music, allowing the graces and nuances of Beethoven's sometimes fiendishly difficult music to shine through.

Two words of criticism--the cover for the box set has got to be THE WORST classical album cover I have ever seen--godawful Blake-meets-Stanley Kubrick garbage that belongs on an album of bad early-80s synthesiser music. AND--Amazon customers, be warned: I picked up this set at a local record store for $39.98 CANADIAN--that's $29.98 in the US at current coversion rates. Why is Amazon stiffing its customers by charging $55.00 US? This is supposed to be a bargain-basement set (as the bargain-basement cover will tell you). Please, Amazon, reprice this fine set now!

Warm, excellent performances.......2003-11-22

I agree with the 4 earlier reviewers. I've listened to a number of other highly regarded performances, including those from the Italian, Emerson, and Lindsays, and the Talich Quartet are the best hands down. I think that it's possible to get a feel for some of the best performances by reading reviews, but the only way to find the best performance for you is to listen to them yourself. The samples on Amazon do help in that regard, and still better is to be able to sample longer passages at a book or music store, etc. You can hear extended excerpts from the Emerson String Quartet at the NPR Performance Today website. According to the experts at NPR, the Emerson are supposed to be the best, but for my 2 cents they are way too rushed, and the Talich blows them away. But do your own due diligence.

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