# Beethoven - String Quartet 3 op.18/3 (SQ review)



## Merl (Jul 28, 2016)

One of the gentlest of Beethoven's earlier works, the D major Quartet is one that I often think is difficult to get right. I love how the first movement sounds like it's going to be a slow movement before it bursts into its allegro form (like a superhero emerging). Beethoven breaks all the rules in that beautiful beginning and the rest of the movement flows so organically from there. The peaceful andante has so much subtlety, with the smooth, flowing theme dominant in most of the movement. The 3rd movement is short, witty and wistful and a perfect lead-in to that superb finale. In speedy six-eight time, its key and rhythms have seen it compared to the finale of Mozart's D major Quintet but Beethoven is much more ingenious here. Where Mozart is regular and more predictable, Beethoven's invention soars with rich and vigorous variety in development.
I'm going to say something contentious here about performance and say that the biggest turn-off for me in the 3rd quartet is slow pacing across the board so that ruled out a number of otherwise beautifully played accounts. Usually-excellent ensembles such as the Petersen, Mosaiques, Italiano, Vlach and Sharon quartets are just too broad across all movements here (I can live with a broad 1st movement but not a stodgy 3rd or finale). Others will be more accommodating with tempi and if so you may think these fare better in your own personal recommendations but for me - no! Just a matter of personal taste in this quartet.






Silver discs

Endellion
Cleveland (Telarc)
Talich
Cypress
Tokyo (RCA)
Kuss
Casals
Dover
Guarneri (RCA & Phillips)
Budapest (stereo)
Acies
Lindsay (1st recording)
Gewandhaus (Eterna & NCA)
Philharmonia Berlin
Bartok
Chiaroscuro

*Gold discs

Ysaye* - Hugely powerful and may be a bit strong for some but I reacted very positively to this stirring performance.
*Kodaly* - one of those that's just paced right with due weight and some lovely articulation in the first movement, especially.
*New Budapest *- fresh-faced, judiciously paced account with some very nice ensemble playing and balances. Very easy on the ear.
*ABQ* - their studio original is still a very easy recommendation due to its brisk rhythms and utter conviction.
*Orpheus* - solid and gorgeously recorded. Perhaps a little more wit would have elevated this technically brilliant reading a little higher.
*Colorado* - quite dryly recorded but this Haydnesque account captures a warmth that's sunny and their phrasing is wittily inventive.
*Belcea* - warm, spacious and lyrical approach (with a slightly dark undertone) that works particularly well here.
*Melos (DG) * - Strong and brisk but way more than that, it's stirring. One of my fave Melos performance up to now.
*Barylli* - although the sound is slightly compromised I can't get over how sunny and warm the Barylli are in these early quartets. Shame about the congestion and strange extraneous sounds but still majestic interpretations.
*Allegri* - lively, well-balance, nimble and agile with glorious recorded sound. The deep cello is particularly nice.
*Smetana* - quick, delightful and exuberant. Strongly characterised account that some will love even more than me.
*Artemis* - lithe and very subtle. The middle two movements are poetic and beautifully expressive whilst the finale bounces.
*Leipziger* - slightly more dynamic than the Artemis and with more vibrato but otherwise I'd say these arent interpretively that far apart.

*Diamond discs

Zaide* - powerful, wiry, brightly-lit performance. Certainly no hanging about here and the finale is very brisk but it feels right. I love the overall soundstage of this recording.
*Suske* - yet again the Suskes impress with their technical aplomb, personality and plenty of joyously vibrant rhythms. There's a rusticity about these 70s readings I find so appealing.
*Hagen* - lots of words came into my head playing this: moody, agile, playful, dynamic. In truth this is just a highly engaging account with a peach of a finale.
*Prazak* - sharp accents and robust attacks but the Prazaks can also float a melody eloquently. One of their strongest op.18 performances
*Jerusalem* - there's a superb rhythmic bouyancy and expressive energy to this performance. Spirited, well-balanced and with just the right amount of drive.
*Takacs* - vivacious, youthful and vigorous, the Takacs play with the right level of Viennese swagger but with a real eye for tiny detail that never sounds micromanaged or fussy.
*Alexander (Foghorn)* - using vibrato more carefully than the Takacs but with a similar swing the Alexanders capture Beethoven's wit and charm very effectively. Superb sound

*Double Platinum

Ebene* - a performance that retains its live feel in a comfortably resonant acoustic. Spontaneous, extremely passionate and weighty it sounds less like Haydn and more like the Beethoven's mature works. Gripped me from the off and didn't let go.

*Turner* - for an HIP alternative to the Ebene you really can't go wrong with the Turners who keep rhythms moving, play with a sound that gets better on subsequent listens and freshen up this quartet much more than the Mosaiques who I find far too slow in this one. Dexterous, joyful and a revelation for the ears.


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## Malx (Jun 18, 2017)

Is it the Foghorn or Arte Nova Alexander recording you are referring to Merl?


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## Merl (Jul 28, 2016)

Malx;bt5595 said:


> Is it the Foghorn or Arte Nova Alexander recording you are referring to Merl?


It was the Foghorn Recording, Malx. I've amended the blog.


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