# Bartok - String Quartet 5 (SQ review)



## Merl (Jul 28, 2016)

Bartók's 5th quartet was composed in 1934 under the patronage of the wealthy American Elizabeth Sprague Coolidge. It's a work less dissonant and spiky than the 3rd or 4th quartets, to me. 
The 1st movement has strong rhythmic motifs and abrasive melodic motifs in juxtaposition. The melodic music towards the end of the movement harks back to these earlier juxtaposed themes but played in different ways. The second movement, adagio molto, with its short phrases and delicate harmonies is creepily eery and an example of Bartok's 'night music'. The middle movement is a lively Scherzo "in the Bulgarian style." it uses powerful, uneven rhythms that were apparently greatly inspired by Bulgarian folk songs and features changing time signatures to a highly testing 10-beat pattern in mid-movement. The 4th movement almost mirrors the 2nd one in that it starts gingerly, with fine pizzicati and is highly harmonic. The end of the movement is lovely as the violins make "celestial chords" alongside the viola. This is a particularly enjoyable part of the quartet for me The finale is urgent and a little bit odd in its ending. Instead of finishing with a charged climax or race to the line Bartok briefly halts things very briefly and introduces something that sounds like a grotesque fairground carousel. I like how the cello & viola play the same tune as the violins but in a different key, creating a clash in this movement and that all quartet players are asked to play "with indifference." Key moments for me are rhythmic drive in the first movement, a strong beginning to the Alla Bulgarese movement and an abrasive finale. With so many different styles there's always lot of disagreement on Bartok performances but I do look for a bit of umph so even though I enjoyed and would recommend many, a few decent recordings or big hitters didn't make it intoy list below (Heath, Jerusalem, Calidore, etc). I think this may end up being quite a contentious list but there were a few that I didn't get to hear (Parker, etc). I may add them at a later date. 

Here's the Doric Quartet performing it, live. 






*Well recommended*

*Belcea* - strongly nuanced with some fierce attacks (check out the outer movements) there's still plenty of detail that I didn't spot in other accounts (were these interpretive choices)? 
*Euclid* - close, resonant sound and this is a quartet who have totally immersed themselves in Bartok's unique soundworld. An engaging and refreshing performance with a particularly interesting scherzo. 
*Rubin* - bassy, resonant but committed from a recording I expected little from. I like an ensemble unafraid to give their Bartok some welly and take risks.
*ABQ* - powerful and tense. There's a tonal heft here that's unique to this quartet and whilst not everything is perfect their crystal clear intonation and timbre are superb. 
*Vegh (1972)* - detail and clarity are the cornerstones of this one but a tad more fire would have worked even more wonders. However, under the Vegh the 5th flows organically and I much prefer it to their 1954 recording. 
*Mikrokosmos* - a little too edgy in the slower movements but otherwise their lean tone and cutting attacks are winning and they use the scherzo and finale really effectively. 
*Vermeer* - another performance from a generally neglected set but the sound of this one is wonderful. Yeah, the violins generate a little too much vibrato but their warmth gave me a broad grin. 
*Guarneri (1974) *- tremendous individual and ensemble playing from the Guarneri who really feel this music. Pizzicati are beautifully carried off and there's some glorious viola playing. A pleasant and unexpected surprise. 
*Arcanto* - apart from a slightly underplayed intro to the scherzo elsewhere there's a strength and maturity in this performance that had me returning to it often. Superb recorded sound. 
**Zehetmair* - if you can deal with the uber-resonant acoustic (which unfortunately obscures busy passages) this is a performance well worth investigating. 
*
Heavily recommended

Keller* - I'll admit that I really wasnt sure about this at first but it really grew on me as the week went on. Full-bodied and cohesive and sounds better with each play
*Hungarian (1962)* - vibrant and aggressive account with plenty of charm and edge without dotting the i's. Especially impressive violin playing throughout. 
*Alexander* - the general strength of the Alexander in combining great articulation, strong dynamics and perfect articulation (with terrific recorded sound) sold it to me. 
*Diotima* - earthier sound but with real personality and ideal balances. A performance that isn't afraid to take risks and pays dividends because of this. 
*Chiara* - Bartok by heart it says on the box and it sounds it. One of the best recorded SQ performances I've heard in the past few years and the cello/viola sound is stunning enough to sell this on its own but everything else is superlative. Here at the moment but could end up at the top. 
*Takacs (Hungaroton/Decca )* - two very different approaches but they're equally committed. Whilst the Hungaroton account has a youthful, bucolic enthusiasm the Decca release is fuller-sounding, with forceful attacks and brevity. Both are very fine.
*Arcadia* - another that improved significantly with subsequent plays. Strong sense of ensemble, in this 'more accessible' and almost romantic approach to Bartok. Love that finale.
*Tokyo (DG 1979) *- whilst their later recording is a little underwhelming this one is confident and beautifully paced with a strong, rhythmic thrust. 
*Vertavo* - slow movements are handled delicately and the three others are inspired with divine interplay, gorgeous violin tone and a real depth of recorded sound. Don't miss this one. 

*Top picks*

I really couldn't choose between this lot as they all had that extra special quality and on different days I'd have them all at the top of my list.

*Fine Arts (1958)* - amongst all the versions of this quartet I surveyed this and the Juilliard made me stop in my tracks (that's not to say they were better than the others in this final list). Quite simply the Fine Arts' idiomatic approach is deeply engrossing. Utterly faultless and totally unmannered. I doubt I've heard the finale played better. Although the recorded sound is showing its age this is too convincing to discount on any level.
*Juilliard (1963)* - All the Juilliard recordings are recommendable but this one takes it for me. Vividly recorded, especially considering its age, and with plenty of air around the instruments they create a unique and engrossing soundworld which reaches a crescendo in their turbulent finale. Some may find this a bit too aggressive (but not me). 
*Parkanyi* - the jazzy syncopation in the scherzo, the pizzicati of the andante and the heat of the 5th are handled comfortably and effortlessly in this Praga sonic treat. Coached by Sandor Vegh, the Parkanyi reveal levels of detail that arguably even cast the Vegh in their shade. Open, spacious sound and an idiomatic treat. 
*Emerson* - I admire how the Emerson take a more urgent, austere stance on performing their 5th. They are technically outstanding but show great depth in the slow movements and there's bags of detail in the outer movements. For once DG gave them ideal sound here and with it's peppy intro their scherzo had me from the off. The andante is eerily sublime. Still think the Emerson are to 'cool'? Listen again.


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## Kjetil Heggelund (Jan 4, 2016)

Nice to see the Vertavo ladies are being noticed! Did you hear the New Budapest on Hyperion?


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## CnC Bartok (Jun 5, 2017)

You really do need to hear the Tatrai Quartet, the right combination of earthiness and mystery, sort of Mikrokosmos meets Tokyo, if that makes any sense..!

I'm sorry, but I cannot agree with the exalted position here of the Emersons. Great on the first few listenings, but none of the subtleties are even considered for addressing.


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## Knorf (Jan 16, 2020)

Excellent overview, Merl!

After having heard many, many recordings of Bartók quartets, the Emerson String Quartet's Bartók Fifth, and indeed most of their cycle, still stand out to me as truly, wonderfully exceptional.



CnC Bartok said:


> ...but none of the subtleties are even considered for addressing.


Ahem. Well, considering I've studied this quartet for decades, and taught it in multiple seminars at the undergraduate and graduate level over many, many years, I doubt very much you know more about this quartet or Bartók's oeuvre than I do. I regard this comment as utter nonsense. It's not even hyperbolic, because that implies an exaggeration of something fundamentally truthful. It's merely the kind of deplorable, puny little swipe that music would do much better to have a lot less of.

By the way, I agree that the Tátrai Quartet are excellent in the Fifth.


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## Merl (Jul 28, 2016)

Yelp, I told you I'd upset a few people and it would be contentious! Ok I'll explain a few omissions and inclusions. The New Budapest is a fairly recent acquisition and I liked it but it just missed out by a fraction (it was one of a number of recordings that I played that just missed out). The Tatrai is a recording I own but for me it just lacks a little of the urgency I really like to hear in this quartet but again it was a close call. I much prefer them in a number of the other quartets (they are in my other Bartok quartet blogs).
As for the Emerson recording I make no excuses there. Another set I own, I came back to this recording a few times and enjoyed its austere feel immensely..My biggest disappointment was the Hagen recording (the very first set I got) who underplay the 5th and bear in mind I usually have a lot of time for the Hagen.
As I said in the thread, reviewing Bartok quartets is a nightmare as everyone has favourites and a preferred style of hearing them. I _usually_ prefer plenty of wallop in my Bartok but not every recording here is of the more aggressive nature. Some just felt right to me or had intricacies or details that really caught my ear. The Vertavo recording was one such performance. What I will say is that these blog reviews are a working document. If you have revisited any of them you will find some additions, omissions and changes in many of them as I often revisit them (I've recently revamped and changed my Ravel SQ blog completely and changed / demoted / promoted a number of recordings. I honestly don't have a biased bone in my body and don't do stereotypes (unless I'm being ironic) so what I hear and enjoy is because of the music and for no other reason. This review even caught me out as a few of my previous favourites either didn't make the cut (but were good) or were superceded by recordings I'd given little shrift in the past. I like being surprised. Thanks for your comments, everyone, whether you agree with me or not.


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## CnC Bartok (Jun 5, 2017)

Knorf said:


> Excellent overview, Merl!
> 
> After having heard many, many recordings of Bartók quartets, the Emerson String Quartet's Bartók Fifth, and indeed most of their cycle, still stand out to me as truly, wonderfully exceptional.
> 
> ...


Your opinion is of course perfectly valid, but that is a pretty arrogant comment, and it is a shame this site doesn't allow us to block those who show their superiority in such cock-sure manners. I would be grateful if you refrained from engaging in such an obnoxious manner with me in future


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## CnC Bartok (Jun 5, 2017)

Merl, any thoughts on the relatively new Ragazze Quartet? Like the Heaths, really enjoyed them, not sure how often I'll revisit though....


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## Merl (Jul 28, 2016)

CnC Bartok said:


> Merl, any thoughts on the relatively new Ragazze Quartet? Like the Heaths, really enjoyed them, not sure how often I'll revisit though....


As far as the Ragazze I liked it but like a few others in the 5th I didn't hear the intensity of others. Perfectly decent, valid approach but it just didn't resonate as much with me as some of their other recordings have. I'll be interested to hear their 6th. That's a really tricky quartet that will take a huge range of interpretations. Whatever I'll approach them the same way as these. I'm sure a few ensembles in this one won't be in the next but who knows? That's why I love doing these. I keep getting some real surprises. I love the covers of those Raggazxe discs, btw (I know that's not important but I do like a striking cover) .


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## CnC Bartok (Jun 5, 2017)

Excellent, found out it's called "ignore" here 🍾🍾🍾


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## Bwv 1080 (Dec 31, 2018)

CnC Bartok said:


> Excellent, found out it's called "ignore" here 🍾🍾🍾


not a full block, but does help to filter out toxic posters.


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## Knorf (Jan 16, 2020)

Among the reasons why the Emerson String Quartet's Bartók still stands out to me as clearly among the finest ever, lies in the superb atmosphere they create in the night music movements/sections, and the moments where they achieve a simple, folksy, lyricism in contrast to the hard-hitting rhythms, as the music requires. Of course there's more to Bartók than rhythmic aggression! The latter should not be missing, but neither should the former. 

After all, we know how fiercely Bartók performed his own music; it wasn't at all gentle when it wasn't supposed to be. But of course really getting the atmosphere right, the mystery and furtive colors of the night music are also critical, and the Emerson String Quartet definitely does. 

The Emersons' level of commitment and achievement in terms of detail, nuance, and subtlety still takes my breath away, regardless of how many times I've heard their Bartók, and their performances have never been displaced in my esteem by any of the couple dozen other rivals I've auditioned. Those all offer something different and potentially rewarding, but none in my opinion supersede in any regard the overall accomplishment of the Emersons.

The exception for me is in the first two quartets, which have indeed been done slightly more convincingly to my ears by a few others. But I'll stalwartly defend the greatness of the Emerson Bartók Fifth, and actually the Third through Sixth in general.


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## Bwv 1080 (Dec 31, 2018)

The Emerson recording is great and they don’t need you to defend them


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