# Brahms - String Quartet 3 op.67 (SQ review)



## Merl (Jul 28, 2016)

Here is the last of Brahms' three quartets, written in the summer of 1875. Brahms supposedly worked on this whilst avoiding writing his first symphony. He had a special love for this quartet (stating it was his favourite - it's mine too) and it sounds like the work of a man taking a break from more serious issues. That's not to demean it in any way but there is a much more sunny, rural feel to this than his other quartets. The first movement sounds like a homage to Mozart's Hunt quartet to me. Brahms seems to imitate Mozart's hunting horns and paints a less dark picture than in his two previous quartets. In the first movement he uses a simple call and response melody and simple rhythm in the main theme. This is a particularly lighthearted movement for Brahms.
The beautiful 2nd movement sounds delicious with its lovely first violin lines and simple rhythm. The middle section presents a sterner, stiffer idea before we hear those meandering violins. The music pushes to a climax before revisiting the earlier theme and then ending with a delightful coda. The 3rd movement is darker and more restless, bringing the viola to the fore, before the agitato of the movement comes in rhythmically then is joined by the first violin. There's a short trio which provides a lighter, contrast with a dainty tune which becomes darker. A calm coda brings the movement to a close. The more lighthearted finale harks back to the sunny first movement and consists of a set of variations (Beethoven's Harp Quartet comes to mind - in fact this could be another homage). It consists of a short, angular theme in two sections but then the first movement theme returns briefly. However this dissipates and the movement ends with a Brahmsian flourish. For me, getting the first and, especially, the 3rd movement right is key to a great performance, with the brevity and charm of the vivace juxtaposed against the restless allegretto ma non troppo. This allegretto is a tough movement and getting a real sense of agitation and struggle with beauty is essential. Here's who I believe really nailed Brahms' 3rd Quartet. Apologies if I don't mention your favourite. There were a ridiculous number of excellent recordings and we're truly spoilt with some stellar efforts and the lowest number of average ones I've come across. I'd happily recommend the recordings below to anyone.......read on!






Hot

Amadeus (1960)
New Zealand
Cleveland (1973)
Poseidon
Cavani
Belcea
Smetana (1966)
Musikverein
Casals
Vegh (1952)
Sine Nomine
Bartok
Janacek (1966)
Mandelring
Budapest (1954)

*Red hot

Cosmos* - this relative newcomer is only a few years old but its a lovingly crafted account with a deep communicative warmth and nice tone.
*Auryn* - mesmeric recorded sound and a excellently balanced and structured performance of exceptional quality.
*Hagen* - lighter and a little over-deliberate but they do capture the warmth and sunshine of the outer movements if not the fragility of the 3rd movement. Superb soundstage and technically immense.
*Italiano (1950s/1971)* - again, it's a case of beauty over fragility but the standard of playing is entrancing, especially in the inner movements. Some will rate their 70s version higher than me. I actually really like the mostly more concise, emotionally more intense 50s recent release from Warner.
*Tokyo* - another classic account that has duly earned its stripes for the sheer quality of structure and ensemble. Nothings ever rushed but there's forward momentum to burn here.
*Leipziger* - their sweetness of tone is delightful but they also dig into the agitato particularly well too. I just wanted some stronger accents sometimes and a bit more power.
*Ysaye* - the 2 best outer movements, full of bucolic and gutsy charm, I've listened to but in the inners their more belligerent, wiry, astringent tone doesn't convince as much as others below. This is still a terrific account. 
*Gringolts* - they totally capture the bounce and joy of the outer movements and the inners are deep and introspective (if a little nuanced).
*Chiara* - the finest (to my ears) of all the Chiara's recordings of Brahms entirely from memory. Their sinewy tone is a delight even if they are balanced a little top-heavy. This feels organic.

*Scorching

Takacs (Hyperion) *- see Takacs (Decca) comments below.
*Emerson* - the Emerson's phrasing and ensemble is taut and energetic. Plenty of fine interplay between all instruments and pacing is ideal.
*Dudok* - playing on gut strings certainly gives this quartet a different leaner feel but it sounds very impressive and when played so bouyantly then this is a winner.
*Alexander* - aren't we lucky to have playing and recorded sound of this quality these days? Vibrato is used a little more judiciously here than above but it's only moderately done. As a whole performance it hangs together so organically.
*Orpheus* - these appear to be warmer and smoother readings on first inspection but scratch a little deeper to reveal the slight nervousness around the 3rd movement and you'll be as convinced as me.
*Artemis* - this is a performance you can really feel. It has depth, passion and a fine sense of structure. The agitato feels especially tremelous and effective. Great sound too.
*Strada* - I'm as engrossed by this performance as I was by their other Brahms quartets. Slightly ascerbic but intense, virulent and passionate in equal measure too.
*Kuss* - low on vibrato but high on emotion the viola is particularly beguiling in this gloriously recorded account. The last 2 movements are a delight with plucked notes ringing out poignantly and rhythms flowing like a stream. Intonation is perfect as is clarity of all instruments. Beautifully phrased and a keeper
*Borodin* - the Russian quartet captivate in the final movement especially but their feel is so intuitive that I had to play this again today. The first violin sounds so good but the whole recording is delicious.
*Alban Berg (studio & live)* - both of these have their plus points and if I had to state a preference I do love the energy of the live reading but no-one would be disappointed with these searing accounts that are as close to perfect as you can get.
*Juilliard* - still a classic and I can't decide if this is a top pick or just under. Sounds incredible but it's the emotion in this performance that really resonates, especially on the 4th movement.

*Volcanic

Takacs (Decca) *- as beautiful, beguiling and acoustically superb as their Hyperion disc is, this earlier earthier account gets it even more consistently right, has that bit more edge and is just as brilliantly recorded. More are excellent but this one is magical.

*Prazak* - razor-sharp, high energy reading that has real bite and the required angst in the 3rd movement. I love how the Prazaks aren't afraid to show their steel in this largely jollier music. It sets them apart from the competition!

*Vogler* - technically brilliant but that's not the big draw here. The Vogler's tight, punchy sound is particularly glorious in the outer movements which throb with romantic elan. A performance that becomes more exciting as it progresses.


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