# Beethoven - String Quartet 1 op.18/1 (SQ review)



## Merl (Jul 28, 2016)

The first movement of Beethoven's 1st quartet highlights that Beethoven, even this early, had mastered the classical forms of Mozart and Haydn but was building his own style, using small motifs and other interesting devices to elevate his style from that of his predecessors. If the first movement isnt far from the world of his heroes, the 2nd movement moves away from it completely. If we are to believe others he used the story of Romeo and Juliet as the backdrop here. Beethoven follows the energetic humour of the first movement with the opposite - darkness, tragedy and deep sorrow. There is evidence that Beethoven used the tomb scene from R&J here but he did revise this movement extensively. Beethoven creates a dark mood that seems to move from despair to suspense to tenderness and terror. Beethoven went well beyond what was expected by writing music with an emotional intensity unlike his contemporaries. Rather than the traditional minuet, the 3rd movement is a driving scherzo with its driving pulse and strong accents and with a trio that pushes the pitch higher. To complete it all, Beethoven concludes with a final Allegro beginning with a small Mozartian flourish. Here again the influence is most definitely Mozart but it's what Beethoven does here that marks him out, using motifs and short runs of fugue and counterpoint to create a truly unique finale.

Here's a performance from the Afiara quartet.





For me, dynamics is key to a performance of this quartet. It's certainly a quartet that suits the dramatic ensembles and those with a really interesting tone (but not all of them rise to the challenge). There are plenty who get this one right so yet again I've just flagged up those I think that walk that extra 10 yards. Here goes.....

Well recommended

Emerson
Sine Nomine
Melos (DG)
CasalQuartett (not Cuartetto Casals! )
Lindsays (ASV)
Chiaroscuro
Alexander (Arte Nova)
Leipziger
Delian
Orford
Alcan
Suske
Arianna
Gewandhaus (Eterna & NCA)
Talich
Auryn
Juilliard (60s)
Amadeus (DG)
Alban Berg
Dover

*Better

Petersen* - beautifully pointed and articulated performance. Crisp and flowing with fine technical skill.
*Smetana (Denon/Supraphon) *- they've recorded this quartet quite a few times but this is my favourite version. Personality, passion and a lyrical flow to the whole performance
*Belcea* - expertly phrased, beautifully recorded and highly dynamic but that 2nd movement is much too broad for me. Shame, as elsewhere they are ideal.
*Ebene -* (see Belcea above)
*Jerusalem* - I actually moved this one up as upon playing it again, recently, I was impressed by the very solid vision they have of the whole quartet.
*Vlach* - delightful control of dynamics and the phrasing is highly personalised but nothing ever feels too nuanced or contrived.
*Cleveland (Telarc)* - hefty, commonsense and almost symphonic in feel. Pacing is moderate but the rhythmic pulse of this performance is strong.
*Michelangelo* - this really is a fine set of the early quartets. Playing with limited vibrato and sharp accents the Michelangelo Quartet adopt a sweet violin tone but this isn't Beethoven-lite. It's just very well done.
*Tokyo (HM) *- more perky and rippling than their heavier RCA account, there's some delicious accenting here in spectacular sound.
*Wihan (live) *- see Di Cremona comments (above). A pretty similar style performance.

*Delightful

Di Cremona* - this is a quartet that suits this ensemble down to the ground. I love dramatic and dynamic readings of this particular quartet and you won't be disappointed with this one. Far from speedy but with very subtle ppp playing. As I originally said, a recording that grew in my estimation.
*Esme* - this prize-winning, young, female, Korean ensemble do what many others can't here and enthrall me across all 4 movements. It's muscular but it's not rushed or especially brisk, just precise, taut and consuming. Best 2nd movement around. A cracker!
*Auner* - as with their superb 4th quartet recording, this one slipped through unnoticed which is strange as it's as good. The young, Austrian Quartet's more homogenous, thicker tone fits especially well and speeds are lively.
*Mosaiques* - a bit broader than many but the extra detail and careful phrasing that the Mosaiques bring to the party means that they never seem slow or laboured. The vibrato-less account works very well.
*Takacs* - I read a piece recently about the Takacs recordings of the op.18s being "overrated". Lol. What utter crap! Listen to this vibrantly articulated performance and tell me its anything less than superb. You won't. As a reading it makes perfect sense and I love their zippy final allegro.
*Alexander (Foghorn)* - what I like about the Alexander in their op.18 performances is their hairpin dynamics, clever use of agogics and expert phrasing. It makes them stand apart from much of the opposition.
*Prazak* - an account filled with nervous energy. There's a febrile quality to the whole performance that holds my attention. Hard to explain but easier to feel.
*Hagen* - sharp accents abound in this lithe, speedy and athletic 1st. All movements are quick with minimum vibrato but a special shout out goes to that adagio. It may be brisk but the Hagen play the hell out it with some glorious whispered tones that plumb the emotional depths eloquently.
*Italiano* - if you prefer some good old-fashioned vibrato along with a tremendously synchronised account then try this old warhorse instead of my top picks. Not laboured, like their 2nd quartet, this is probably their best op.18 performance by some way, for me.

*Top picks

Artemis* - Like the Mosaique, the Artemis play with hardly any vibrato but they are bolder, more dynamic and more urgent than their period counterparts. Modern instruments played in HIP-styley works brilliantly here. Btw, they are not speed-merchants. These are fairly relaxed movements but made to sound quicker by using accents cleverly. Top notch.

*Cuartetto Casals* - one of the quickest recordings here, this doesn't mean it's rushed or misses detail. Far from it. This gripping, pulsating account is an absolute peach, full of bold accenting, stunning articulation and ensemble playing of remarkable flexibility. Listen to that scherzo for a perfect example of this.

*Turner* - fascinating and revelatory recording. The cello throbs, the pacing is lively and the adagio is utterly heavenly to these ears. My favourite HIP recording from a superb set of the early quartets.


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