# Beethoven - String Quartet op.133 'Grosse Fugue' (SQ review)



## Merl (Jul 28, 2016)

Most people know the history of the Grosse Fugue and its place as part of, or apart from, the 13th quartet (if you don't, look it up) . There are many recordings as part of cycles where it is often done separately and tacked onto recordings of the 13th (or even on other discs not with the 13th quartet). With this in mind, I decided to blog recommendations of recordings I particularly liked on hearing them. Some of these are from within recordings where the Grosse Fugue is the final movement and there is no alternative final movement but whatever I'm only judging the Fugue. You may disagree with me doing it this way but at the end of the day many quartets have treated it as a separate entity so for this review, so am I. Absolutely tons of easily recommendable recordings so these are ones that have that little bit (or more) extra. And no, I don't do orchestral arrangements of it (ugh!).

To kick things off here's an absorbing live performance from the Danish Quartet 






*Strongly Recommended*

Signum
Brentano
Vertavo
Budapest LOC (1960)
Auryn
Borromeo
Kodaly
Alcan
New, Bidapest
Suske
Emerson
Gewandhaus
Brentano
Fitzwilliam
Wihan
Hollywood (Pristine Remaster)
Kuss
Guarneri (Decca)
Alexander (Foghorn/Arte Nova)
Borodin
Lindsay (early 80s)

*More impressive

Italiano* - a particularly slow meno mosso but its played with great passion and cohesion of ensemble.
*Casals* - Lither and less volatile but played with a reassuring single-mindedness of purpose. Lovely recorded sound and impeccable intonation.
*Edding* - strongly persuasive in style they ease into the leaner textures with huge technical acumen.
*Goldner* - such a well-channeled and erudite account, vibrato is never heavy and rhythms are sprung naturally.
*Leipziger* - classy, well-articulated and accomplished. Rounded out highly impressively but quite reverberant which may put some off.
*ABQ* - bold, strident and technically highly precise and transparent. A classic all-rounder.
*Talich* - I definitely prefer the Talichs when they play more ascerbically, like this one in the later quartets.
*Brodsky* - dynamically intense and meandering. When it settles it's achingly beautiful. An account of extremes.
*Cypress* - structurally well-proportioned and big in sound especially in the unison opening.
*Petersen* - courageous if a little overstated opening but the bolder approach works well and it's a highly enjoyable, if slightly flawed performance
*Orford* - a great depth and freshness to this reading which winds up into a maelstrom of sound before the meno mosso (which is glorious) floats by.
*Smetana* - the viola and cello lay down an engaging rhythm and the resulting voicing and tone of the 4 instruments pitched together, frenetically, are gorgeous.
*Prazak* - darker, more intense and serious there's a grainy, grim feel to this performance that may seem a bit harsh for some.
*Vegh (stereo) *- masterful, complex control of tempi and the way the Vegh weave a hypnotic path through brings a smile to my face every time.

*Exceptional

Philharmonia Berlin *- you can tell these Berliners are more than familiar with the Grosse Fugue in quartet and orchestral form. Symphonic and clever recording from the BPO front seats .
*Tokyo (RCA) *- Another classic account in the vein of the ABQ but its even more alert and restless. Much better than their later, rather tepid remake.
*Armida* - like the Hagen there's no hanging around in this brisk and superb-sounding account. Gloriously vivacious and absorbing recorded sound
*Ehnes* - launched into with fervour, there's an odd moment where the ensemble drifts a little but it's all pulled back together so stunningly I found this hard to resist.
*Cleveland (Telarc) *- clear, vital and refreshing (like most of their cycle). Especially vibrant in those opening cross-rhythms.
*Mosaiques* - a superb period performance that has the heft that a few of their later quartets don't. Lines are extremely transparent and tempi well-judged.
*Melos (DG)* - Hugely expressive and emotional and I loved their playing in the meno mosso e moderato section which is sumptuous yet strong. A wonderfully supple account.
*Takacs* - in this extremely dramatic reading, the Takacs push hard (some may feel a little too hard at times), especially in the first section, but there's no escaping the fact that the level of playing in those cross-rhythms is mesmerising and they lovingly manage slower moments too.
*Di Cremona* - the cross-hatched tones and polyphonic extremities are a match made in heaven for the Cremona who play the meno mosso with such beauty that this performance leaves one shattered at the end.
*Ebene* - like the Di Cremona, breathtaking development in the opening but with enough lightness and tenderness elsewhere.
*Belcea* - a dark, probing and unsettling recording. This take-no-prisoners approach really highlights the powerful nature of the music. Kept well separate from their recording of the op.130 makes it even more startling. This may go higher.
*Arditti* - a fascinating interpretation of the Fugue from the Arditti's who make it sound fresher and more contemporary with some interesting and brilliantly-gauged choices of dynamics, agogics and tempi.

*Top Picks

Hagen* - one of the quickest on record (the meno mosso e moderato is rapid compared to many others) but the articulation is stunning and there's never a feeling of this being rushed. The way the Hagen manage the tricky opening with such virtuosity is exciting, beguiling and hypnotic.

*Danish* - limited vibrato and leaner textures but don't for one minute think this is lightweight. Like the Arditti's the Danish Quartet imbue the whole performance with a genuine love that makes it a uniquely positive, volatile, more contemporary listening experience.

*Artemis* - such a beautiful, transparent recording with excellent, precise attacks, varied dynamics, honeyed intonation and limited vibrato. One of the finest performances from their cycle.


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