# Beethoven - String Quartet 8 'Razumovsky' op.59/2



## Merl (Jul 28, 2016)

From Wiki (apologies for my laziness)..

According to Carl Czerny, the second movement of the quartet occurred to Beethoven as he contemplated the starry sky and thought of the music of the spheres (Thayer, Life of Beethoven); it has a hymnlike quality reminiscent of a much later devotion, the "Heiliger Dankgesang" hymn to the Divine in the Quartet Op. 132.

The scherzo movement of the quartet, the third movement (allegretto), uses a Russian theme also used by Modest Mussorgsky in Boris Godunov, by Anton Arensky in his String Quartet No. 2 in A Minor, and by Sergei Rachmaninoff in his 6 Morceaux for Piano Duet, Op. 11. The original song, "Glory to the Sun", was recorded[clarification needed] by Nikolay Lvov and Jan Prac; sheet music was published in 1790 (second edition 1806), verses in the 1770s. However, Beethoven used it in an ungentle way. According to Kerman, "It sounds as though Count Razumovsky had been tactless enough to hand Beethoven the tune, and Beethoven is pile-driving it into the ground by way of revenge." In an extremely unusual example of melodic setting prior to the 20th century, portions of the tune with strong tonic harmonic leanings are harmonized with the dominant, and vice versa; the harmonic clash is harsh, and many listeners have found this portion of the quartet to be quite amusing, especially as contrasted with the prosaic, almost "exercise-book" counterpoint which precedes it (another example of Beethoven parodying a student counterpoint exercise can be found in the scherzo of the Quartet No. 10, opus 74).
Getting the outer movements right is key for me here, especially the 1st movement, which when played without the necessary emotional depth just sounds plain dull. Loads of superb recordings of this quartet.






Well recommended 

Auryn
Sine Nomine
Italiano
Emerson
Fine Arts (studio & WFMT live)
Vermeer
Voce
Girard
Kodaly
Janacek
Medici
Wihan (live)
Alexander (Foghorn)
Barylli
Melos (Intercord & DG)
Hungarian (1953)
Amadeus (DG)

*Highly Recommended

Budapest (mono 1951/live LOC 1961) *- whilst sonically challenged and with occasional lapses of intonation its hard to get past the sheer visceral joy of these performances. Both are a treat.
*New Budapest* - this is such a strong account. It feels passionate and lively. 
*New Zealand* - great sound and balances. Not one of the quicker recordings but the quality of the playing and wisely chosen tempi work especially well.
*Smetana* - bags of character and class. It was good to hear this fine performance again after a long hiatus from hearing it.
*Bartok* - this may be contentious but this account is just damn good fun. A group who sound like they're loving playing this quartet. A tone all of their own and a version to match.
*Kuss* - a tremendous performance of 3 movements that would have been on par with the Ebene (it's actually better in places) but they unnecesarily rush the allegretto. Strange, as the finale is on the slower end of the spectrum.
*Alban Berg* - lively, vital and brisk. Forthright without vulgarity and with the expected tight ensemble and power.
*Artemis* - you'd expect sharp attacks and power of the outers that would impress but it's the inner movements that are special here. The slow movement is gorgeous and the 3rd is one of the best around.
*Valentin-Berlinsky *- a recording of drive and boundless energy with throbbing cello and vivacious violins. This really has everything and a zippy, fizzing finale to cap it off.
*Brodsky* - this highly individual performance goes from one the broadest 1st movements to the quickest presto around. Quite a journey. .
*Casals* - pulse and rhythm are key to this reading and the Casals choose a perfect line. It may not have the persuasiveness of some more febrile and emotional others in the slow movement but it's still a cracker.
*Suske* - The Suskes have a nice, thick tone and play with a unity that I find compelling. Forward momentum, not speed, is at a premium across the whole quartet in this relaxed but hugely impressive reading.

*Special

Di Cremona *- for those fools that claim the Cremonas are too noisy, etc they should listen to the Vlachs from the 60s, replete with chunky chords and appropriate extremes of dynamics. This is a fine performance with power, angst and a very intelligent 3rd and 4th movement. Ignore the naysayers.
*Gewandhaus* - pure class from start to finish. The sound is clear and the rhythms are perfect. A Rolls-Royce of an account that is eminently satisfying and direct.
*Juilliard (2021)* - what a delicious recording this is. If you think the old Juilliard 60s recording is very fine (it is) then this is even better. Sonically superb but the performance makes it. The little interpretive touches and phrasing in the 3rd movement are an absolute delight. Matched with excellent Bartok and Dvorak quartets too.
*Kuijken* - rhythmically taut with limited vibrato and firm, propulsive cello playing this is a stunning recording that's technically and sonically masterful.
*Arianna* - vital but never rushed the Arianna are best in the outer movements and the interplay and balances are nigh on perfect. A less relaxed 3rd movement and this would be at the apex.
*Hagen* - sumptuously gorgeous and expressive reading but it's the way the Hagens lay off vibrato and rely on their stunning interplay that make this sound so special. Intonation is perfect and the last two movements are brisk and exciting, on this 2011 Myrios release.
*Belcea* - powerful attacks, expressive warmth without stacks of vibrato in the 2nd movement, brisker but perfectly judged tempi and with perfect sound this is a consistently superb account on all fronts.
*Ebene* - the control of dynamics and tempo is masterful. Some noisy breathing but not too obtrusive and it's so well-performed its a minor quibble. Not that quick just expressive.
*Leipziger* - a beautiful performance with a flow and rhythmic tilt that I loved. There is strength married to lyricism. The molto adagio is delicious, the allegretto flowing and the finale is taken at a blistering pace but it doesn't sound hurried.

*Top Picks

Vlach* - a reading full of intense power and emotion. The first movement is a maelstrom of passion and angst and a total tour de force. You rarely hear this much vehement force in SQ performances but I wish you did. Firey and moody. Wow!
*Takacs* - oh the skill with which the Takacs tackle this quartet! Playing of such style, power and delicacy all on one performance. The whole account has a skipping quality that had me from the outset. Delectable.
*Prazak* - the snappy accentuations, hairpin accelerandos and perfect pacing of this taut and, in turn, sumptuous recording remind me of the best of the old Czech tradition (Vlach, especially). The best of their fine Rasumovsky recordings. That feverish cello playing in the presto is phenomenal.


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