# Beethoven - String Quartet 12 op.127 (SQ review)



## Merl (Jul 28, 2016)

The first of the late quartets, String Quartet in E-flat Major, Op. 127, was completed in February of 1825. With little time for rehearsals, the Schuppanzigh Quartet gave the premiere on March 1825 in Vienna and it was poorly received. One reviewer wrote that the work was an "incomprehensible, incoherent, vague, over-extended series of fantasias-chaos, from which flashes of genius emerged from time to time like lightning bolts from a black thunder cloud." However, opinions soon changed and it enjoyed a number of performances during Beethoven's last years.

The opening movement is in standard sonata form which is interrupted on a few occasions by some strong chords before coming to its gentle, almost Mozartian conclusion. The second movement is a huge set of variations on a very simple, beautiful theme. These are not Beethoven's typical variations, instead, he offers us a glorious, long, slow movement. A scurrying scherzo follows with plenty of drive, rhythmic complexity and a darker trio, rounded off by a humorous ending. The shorter finale is jollier and features two themes, one bubbly and smiling, the other, rhythmically constant and heavy with big accents. At the end Beethoven throws in a curveball with the coda, changing the key and tempo to great effect.

Its a very different and challenging quartet for ensembles who need to balance out all the elements perfectly and handle the constant changes in tempi and dynamics. It's not one of my favourite Beethoven quartets (I still find it a little long) but it's still a great one - some people call it the 'Cinderella' of Beethoven quartets. As usual, I've gone with just the very recommended recordings so even fine recordings by the Tokyo, Colorado, Di Cremona, etc don't get a look-in this time. Anyway, here's the Ebene Quartet playing it very impressively...






*Recommended enthusiastically *

Auryn
Cypress
Petersen
Weller
Henschel
Kuss
Mosaiques
Guarneri (Decca)
Suske
Vlach
Prazak
Cleveland (Telarc)
Hungarian (1966)
Vermeer
Borodin
Orion
Brentano
Lindsays (2000s)

*Fire in the Hole

Danish* - not a wholly comfortable listen but isn't that the point? Equal measures of fire and sophistication played with little rubato. Involving.
*Elias* - a recording that initially feels relaxed before ramping up the emotional heft throughout. Really engaging and enjoyable recording.
*Fine Arts* - clean and detailed the FAs offer a brighter reading that I, for one, find beguiling. The final movement is pure class.
*Kodaly* - they gauge the internal structure superbly well and would be higher with more energy in the 3rd movement.
*Casals* - great intensity and internal balances. Glorious acoustic.
*Goldner* - not always in these reviews, the Goldner definitely impress here with a vibrant and Fine Arts-esque performance.
*Brodsky* - an impressive, almost symphonic, full sound from this quartet. They're particularly awesome in the 2nd movement.
*Orford* - slower but beguiling 2nd movement and fine ensemble in this poetic reading.
*Vegh (70s) *- whenever I hear this account it transports me elsewhere and hangs together with a life of its own. No one handles the tensions in this quartet like them, even if they are rather broad and a bit mechanical in the 3rd.
*Hermes* - the French quartet play with wonderful joie de vivre especially in the 3rd movement but perhaps they don't dig quite hard enough for the emotional intensity (even if they are mostly excellent)
*Alban Berg *- a darker, harder-edged account that only derails a little during the 3rd movement but they pull it back in the 4th. They are superb in the maestoso too.
*Melos (DG)* - convincing performance particularly in an utterly ravishing 2nd movement. Elsewhere they play with just the right amount of versatility.
*Alexander (Arte Nova & Foghorn)* - both of these performances are excellent and there's very little in it regarding style or timings. Really well-structured and commanding accounts.

*The Cat's Whiskers

Emerson* - they meet the technical, dynamic and emotional demands of this quartet head on and succeed where others fail. A quartet that suits this ensemble down to the ground.
*Gewandhaus* - very much in the styke of the Suskes but even more convincing and in better sound. Heartily firm and their clarity of line is joyful. This was the first one I played and I've used it as a superb benchmark throughout.
*Italiano* - from that thick, opening chord the Itallianos had me. With each movement they ramp up the tension and conclude with a riveting 4th movement.
*Takacs* - another recording where the whole structure is at the centre of this performance. There's no forcing of pace or clattering dynamics just an essential, utterly fulfilling account.
*Artemis* - Impeccably paced ensemble playing and the Artemis are beautiful and lyrical in slow moments and slower than many would think. Wonderful.
*Hagen* - this had positive but slightly mixed reviews upon release and I don't get the hesitation. Maybe its the judicious use of vibrato or quicker tempi that turn some off but not for me. This is top class quartet playing.
*Smetana (Denon)* - how do you summarise some of the lovely little touches the Smetanas throw into their reading that make this stand out? Just magical? Like the Veghs, they occupy a soundworld unlike many of their competitors but one which feels like a warm, brisk hug on an icy day.
*Ehnes* - I absolutely love this heartily Juilliard-esque account, with it rich symphonic sonorities and punchy attacks. Not just about Ehnes violinist but his quartet are masterful here and caught in a gorgeous, slightly resonant acoustic.

*Top of the Pops

Belcea* - a masterful effort. The Belceas get to grips with the structure of the op.127 and are wonderfully insightful in the latter movements, in particular. They're gloriously well drilled in the 4th to round off a superb rendition.

*Ebene* - I've got to admit I'm a sucker for the Ebene's approach. No thick cloying textures but also no drama for the sake of it, just a beautifully imagined reading with lots of emotional intensity and firecracker ensemble playing.


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