# Beethoven - String Quartet 6 op.18/6 (SQ review)



## Merl (Jul 28, 2016)

The final early quartet seems to hark more to Haydn with regards both texture and theme. Beethoven honoured his commission to Prince Joseph Franz Maximillian Lobkowitz. They were published in 1801 and Beethoven was not happy with the many typo errors in the first edition.

The key of Bb major makes this a calm, nimble, joyous and buoyant opening of the first movement. The violin and cello parts are initially in dialogue while the 2nd violin and viola parts are the rhythm section. The march-like second theme is highly rhythmic and the exposition drives to a wonderfully boisterous end. The unison beginning of the development is excellent and Beethoven uses many techniques including voice pairings and then we're back to the recap.
The 2nd movement is a slow, complicated journey. In the warm key of Eb major, it soon changes into Eb minor. We have very specific instructions in the parts, such as "queste note ben marcato" (play these notes marcato or marked/clipped). The part in C major near the end of the movement is lovely as it dissipates with with its last pizzicato notes.
The Scherzo-Trio is more jovial, full of rhythmic shifts, syncopations and dynamic markings. The Trio is in the same key, with its perilous first violin part. An exuberant bridge brings back the opening Scherzo, galloping along, off-tilt.
The final movement is revelatory and is often cited as a turning point in Beethoven's writing. In the opening "La Malinconia" Beethoven (allegedly) initially didn't intend to include the initial adagio section. The beginning of "La Malinconia" sounds to some like a distant horn call before an extended, complex section comes in. The music becomes eerie and melancholic. Then we get to an allegretto with huge forward motion and a feeling of return from a journey. The theme returns in rondo form before the Malinconia theme returns in the middle. The final Prestissimo section barrels to a wonderful ending.






Jalfrezi Hot

Amadeus (DG)
Sacconi
Vanbrugh
Belcea
ABQ (studio)
Terpsycordes
Vegh (stereo)
Henschel
Sine Nomine
Juilliard (60s)
Goldner
Smithson
Michelangelo
Cleveland (Telarc)
Gabrieli
Auryn
Alcan
Casals
Italiano
New Budapest

*Madras hot

Emerson* - interesting account that's technically very impressive. The 2nd half is especially well done.
*Tokyo* (Harmonium Mundi) - they certainly bring out the more lyrical Hayd3nesque qualities of this quartet. If you want a more gentle vision, beautifully played, of this quartet you'll appreciate this.
*Dover* - a fine, brisk and well-phrased performance with lovely balances and ideal sound. Technically highly accomplished but in mo ways stiff.
*Suske* - very like the Gewandhaus recording (that didn't make the cut but is fine) but with added drive, better balances and a rather atractive Viennese charm.
*Wihan* - firm, harder edged and assured, beautifully recorded account with some quite delightful touches in the scherzo, in particular.
*Cypress* - they didn't always get it right in their cycle but when they did they were very impressive. Balances, pacing and expression are ideal in this one.
*Jerusalem (Harmonium Mundi) *- much better than their earlier accounts (which were a little hurried) this is more relaxed, assured Beethoven and I'd perhaps have liked a little more drive to go with the delightful ensemble playing, especially in the first movement, but nothing to grumble about.
*Elias* - there's a definite sense of exuberance in this live recording and some interesting interpretive choices which make for a really engaging reading full of bite and verve.
*Eybler* - the lightning-fast opening Allegro Con Brio may be more of a vivace or even presto but you've gotta admire their sheer exuberance. A little thin soundwise from this period quartet but certainly a thought-provoking account.

*Vindaloo hot

Prazak* - the Czechs understand how this quartet works and steer skillfully through the tricky contours with an intelligence that always sounds bang-on. Phrasing and articulation are highly impressive.
*Leipziger* - lithe, quick but so impressively played. There's a lyrical flow to this excellent quartet and nothing ever gets bogged-down or dull.
*Borodin (Chandos Historic)* - this 60s recording from a set of op.18s is rather special. Much bolder and fluent than their later effort, the Borodins are gutsy and are accompanied by excellent analogue sound (little hiss). Really impressive.
*Takacs* - again its those dynamics and the way that cello digs in that I find so attractive about the Takacs recording. They definitely treat this as a more mature work and that strong approach pays dividends.
*Fine Arts* - never too weighty nor too light and brisk when needed (scherzo) the Fine Arts bring out the textures of Beethoven's creation with convincing skill in this crisp and superb reading.
*Sharon* - this is a muscular and no-nonsense effort. It may not have the finesse of the others here but boy does it do the job with style!
*Ebene* - a dark and broody Malinconia is the highlight of this expressive and full-throated account. The Ebene's bring a different soundworld to the table and it's one that I find very appealing (even if their breathing can be a little louder than others).
*Turner* - a period performance that sounds fresh and vital with a rather Veghesque rustic quality to it. For some this may be at the highest level but just a little bit more subtlety would be needed for me to put it there. Whatever this is a killer recording from a wonderful op.18 set.

*Phal top picks *

*Petersen* - what an utterly gorgeous performance. Tempi are practically perfect for me but it's the skill of the playing that really dazzles as the Petersens turn from pianissimo to forte on a knife edge. Their understanding of each other in the scherzo is a tonal delight. This is an outstanding effort.
*Artemis* - bold, tender, fluid, alive and intricate in equal measure this is a tremendous account on by any measure. It has a flow and feel of a live recording but there's no bombast or mannered touches, just incredible articulation and phrasing in each movement. It takes some recording to eqiual the Takacs et al in this one.
*Alexander (Foghorn) *- a triumphant and big-boned recording expertly and passionately played to superb standards. This has everything and I really think this ticks all the boxes for every type of SQ fan. Their Arte Nova recording is pretty damned good too. Truly glorious sound.
*Mosaiques* - I wasn't totally sold on this the first time I heard it (I was expecting a quicker 1st movement) but the the deep, rich cello, full-blooded sound (unlike some of their later quartets) and infectious nature of the reading won me over quickly and now its a keeper. If you want a period performance alternative to the ones above, this is it (but some may prefer the brisker Turners).
*Pacifica (live @ Menlo) *- if you've heard any of these live [email protected] releases you'll know how good some of them are and this is an absolute cracker (it's from the excellent 'Being Mendelssohn 2' release). Apart from a few characterful mannerisms in the first movement (nothing bad) this incendiary live performance catches the ensemble on a real 'on' night when it all comes together. It's met with hollers and whoops at the end and that's no surprise as this is such a riveting and commanding performance from the Pacifica and one which I now need to have. Very special. Just hear it.


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