# Beethoven - String Quartet 7 op. 59/1 'Razumovsky 1' (SQ review)



## Merl (Jul 28, 2016)

Published in 1808, Beethoven's 7th quartet was the first of 3 quartets commissioned by prince Razumovsky, the Russian ambassador to Vienna. The first of his middle quartets it marked a big departure in style from his earlier Op. 18 set. At around 40 minutes in length op.59/1 requires great concentration and a high degree of technical proficiency. 
The 1st movement opens with that almost train-like rhythm and bright theme in the cello and then violin. Tension grows until there's a resolve. Something that sounds like hunting horns suggest a Pastoral scene. There's even a fake repeat that dupes us and then spins off into a large development section giving way to a fugue. After further development that glorious first violin theme re-emerges again, only to digress once more. In the coda, the opening theme finally finds resolve
Beethoven marked the 2nd movement sempre scherzando. It begins with its quirky melody and as the movement continues, the Beethoven throws all his musical jokes at us. Rhythmic games give us very little sense of the downbeat. The instruments trade vigorous lines interrupted by unpredictable outbursts. The final bars are symptomatic of the whole crazy movement as we get hit by a series of “wrong” notes.
The 3rd movement's melancholy and deep introspection look ahead to thosevslow movements in the late quartets. On a sketched last page of this movement, Beethoven wrote the phrase, “A weeping willow or acacia tree on my brother’s grave.” Some have speculated that this is some sort of elegy whilst for others it's a masonic reference, but we're not totally sure, however what we do know is this is a ravishingly beautiful and haunting Adagio molto e mesto. At times almost funerial it's always reminded me of the funeral march from the Eroica Symphony (but much better) with the final moments ending with a cadenza in the first violin which lightens the spirit and leads directly into the final movement (a homage to Razumovsky). Based on a slow Russian folk lament Beethoven uses the melody joyfully instead. In the final moments of this sunny Allegro, 'Theme Russe', the theme starts to becomes almost dreamy before Beethoven races us to an exciting and thundering conclusion. One of Beethoven's finest quartets, in my opinion, getting off to a great start is absolutely essential here (I love that first movement and it is key, for me). 
Apologies for the massive list but I had extensive notes on this from years ago and it's been heavily recorded in stand-alone performances. Lots of fine performances that didn't make the final list that are also decent (Eg. Cypress, Vermeer, Di Cremona, Elias, Vanbrugh) but I had to draw the line somewhere.

Here's the ABQ in a rather nice performance. 






Recommended
Borodin
Talich
Vegh
Kodaly
Alcan
Alexander (Arte Nova)
Orpheus
Wihan (live)
Tokyo (RCA)
Tokyo (Harmonium Mundi)
Juilliard (60s)
Alban Berg (live)
Guarneri (Decca)
Orion
Bartok
Kuss
Philharmonia Berlin
Arianna
Cleveland (90s)
Gabrieli
Smetana (Supraphon)
Vlach
Hagen

*Special

Belcea* - although they take their foot off the gas a little too much in the adagio, elsewhere the Belcea account is phrased brilliantly and is so stylish. 
*Prazak* - not everyone will love the Czech-infused tang of this quartet but I do.
*Suske* - fine, authorative performance and the final movement is firm and deeply assured.
*Artemis* - for all their excellent attacks, graduated dynamics and superb ensemble the ABQ et al have that bit more mystery here. Its still superb though. Killer finale.
*Fine Arts *- I can't say why I enjoy this one so much. It just makes sense as a cohesive performance and speaks to me. The rich tone of the Fine Arts Quartet of the time is very alluring.
*Alexander (Foghorn)* - gritty, powerful but full of angst too, the Alexanders better their first Raz with a more nervous and tense approach.
*Gewandhaus* - I really like this recording. It's full, powerful, beautifully recorded and well-realised. An immediate hit.
*Emerson* - another Emerson masterclass. Technically special but also wonderfully agile performance that's better recorded than some of the Emerson's other DG efforts.
*Amadeus (DG) *- older style performance that doesn't shy away from heavier use of vibrato but their tone is glorious. The Amadeus quartet doesn't often do it in Beethoven for me but this is a lovely performance that sounds spot-on.
*Auryn* - Stunning recording in a lovely acoustic. They don't take chances (this is is a firmly conventional interpretation) but their sheer technical skill carries this off.

*The Super League (lol) *

*Takacs* - as you'd expect, technically superb but as a whole the Takacs shade their performance with athletic phrasing and an unbelievable dynamic approach.
*Alban Berg* - vigorous, brisker and thoroughly refreshing. I marginally prefer this one over their live account (others may feel differently) but they play with such an organic flow and feeling for the music. Certainly an ensemble not afraid to really dig in and a worthy classic from a fine cy le.
*Melos* - highly vivacious and brisk (except for a rather slow but lovely adagio) performance. Virtuosic and whilst there's the odd moment with intonation issues this is such an agile and fine account it sweeps you off your feet.
*Valentin-Berlinsky* - the VBs are lighter in approach but their beauty is irresistible.
*Italiano* - they may be slower than many but the sheer sumptuousness of their playing wins out. Almost the Karajan of SQ quartets they know how to make the Raz sing even at broader speeds. A classic performance for a reason.

*Top bananas

Kuijken* - HIP style performance on period instruments. The Kuijken play with limited vibratp and technically they're not always as tight as others but they play the outer movements with such vivacity it's impossible not to love it. If you're not inclined to this style of performance it may not be for you but combined with lovely acoustics this is a recording that demands your attention. Their adagio is possibly the strongest I heard in this quartet.

*Leipziger* - for those that might not care for the Kuijken's zippier, vibrato-lite approach this is a great alternative. Very like the Auryn recording in style and scope, what stood out on this one was just how organic this felt. Whilst some others frame the adagio either too slowly or sadly, the Leipzigers play with a beautiful serenity but every movement is just a delight. Excellent recorded sound too. A delight.


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