# Beethoven - String Quartet 9 'Razumovsky' op.59/3



## Merl (Jul 28, 2016)

From Wiki...

"String Quartet No. 9 in C major, Op. 59, No. 3, was written and published in 1808. This is the third of three of his "Razumovsky" quartets. 
The introductory andante con moto section of the first movement is not directly related to the rest of the movement and serves a similar function to the introduction of his Op. 74 quartet. Thereafter, the movement's main thematic material is exposed and developed. The relation (or apparent lack thereof) between the slow, sombre and dissonant introduction and the bright allegro which follows, is similar to what is found in Mozart's "Dissonance" Quartet, also in the key of C.

The quartet's second movement makes use of an augmented second in the descending scale first played by the first violin at the beginning of the movement. This interval, repeated through the movement, gives it an association with the Hungarian scale. Unlike the other two opus 59 quartets, this one does not have an explicit "Theme Russe" in any of its movements. Nevertheless, it can be argued that this second movement with its sparse texture and comfortless melodies, evokes a Russian feel by bringing to mind the vast, barren and desolate landscape of the Siberian tundra.

The quartet's third movement is a lighter menuetto which provides the motif that is subsequently turned upside down for the last movement, a fugal allegro molto that begins with the viola and adds the second violin, cello and first violin in that order. The movement is in alla breve time and is almost a perpetuum mobile in quavers. The fugue is semi-rigorous, somewhere between the fugato of Mozart's string quartet K.387 and the rigorous fugue of his Adagio and Fugue K.546. About halfway into the movement, a contrasting theme is introduced, which moves in minims. The movement concludes with an enormous Mannheim crescendo, peaking at an implicit fff."

I'll admit to this being my favourite of the Razumovsky quartets and one of my fave Beethoven quartets. There are so many fine recordings of this one and it was really tough to sort them. Basically, if it's in this list it's especially fine but there were many recommendable recordings that didn't make the cut. Just cos they aren't on the list doesn't mean I didn't rate them! Incidentally, intonation is key here as with poor intonation the first two movements sound frankly awful. Older recordings don't always fare well in the 3rd Razumovsky either.






Wonderful Tonight

Goldner
New Zealand
Jasper
Wihan (live) 
Kodaly
Gewandhaus
Bartok
Belcea
Amadeus (DG/RIAS/Decca) 
Emerson
Jasper
Talich
Raphael
Guarneri (Decca) 
Aris
Miro
Barylli
Dover
Orion
Medici
Sine Nomine
Smetana
Melos (1970 Intercord) 
Kuss
Vanbrugh
Cleveland (Telarc)

*Great gig in the Sky*

*Alexander (Arte Nova/Foghorn)* - 2 terrific performances that I thoroughly enjoyed for their no-nonsense approach and sensible use of rhythm and vibrato). 
*Vogler* - they take the 2nd at a faster clip but manage to make it sound sinister and that works well for me. Elsewhere the Voglers are more rustic in sound but tight as hell in ensemble. This is a fine recording from Profil and a nice account. 
*Arianna* - this set from the Arianna is starting to impress me. Their performances always seem well-judged and interesting. They don't take chances but that's to their credit. This is no-fuss playing in a warm, highly listenable acoustic. 
*Auryn* - impressive in all movements. I particularly like the 2nd movement. A huge improvement on their Raz 2 and of a similar standard to their Raz 1. Recorded sound is superb. 
*Juilliard (60s set)* - another fine effort from this classic ensemble. The remastered sound is lovely for its age but it's the volatily , power and passion that impress here. 
*Shuppanzigh* - excellent period performance on instruments from Beethoven's time. Energetic and stimulating account that's perhaps a little over-brisk occasionally but boy is it enjoyable! 
*Tokyo (Harmonia Mundi) *- I'd happily recommend their earlier RCA account but this one has more character, is better recorded and is better played. The sound is first class. 
*Brodsky* - if you prefer a warmly lyrical approach to this quartet this might be the one for you. Beautiful playing, especially in the violins. Part of a lovely disc. 
*Alban Berg *- some say the Alban Bergs can be detached in Beethoven. Utter rubbish! This is a vibrant, crisp, exciting reading, brilliantly played. 
*Alcan* - a set that sometimes registers but you can tell they are enjoying this one. It dances as it should and the 2nd movement has real depth. 
*Vermeer* - I've always enjoyed the Vermeer's vibrant Razumovskys. Hearing this hasn't changed my mind. Firm and responsive playing. 
*Artemis* - clear, clean and well articulated. The Artemis Quartet seem to know just when to use their attacks and when to release chords and ease off the throttle. When combined with less use of vibrato it sounds just lovely.

*The Final Countdown *

*Melos (DG) *- vitally alive and one of the best of their DG cycle, for me. Brisk, almost dance-like and with superb articulation. 
*Fine Arts (WFMT live)* - from very good sounding unreleased broadcast tapes this is one helluva strong reading (much better than their recommended studio account). Some intonation lapses but the outer movements are effervescent. I love this. 
*Di Cremona* - restless, agitated and highly committed, I'm faling for the charms of the Di Cremona's lively Raz quartets. Its not for everyone and it is intense but it is, also, joyous. 
*Italiano* - a classic interpretation that's incisive, crisp and rhapsodic. Tge sound like an ensemble fully emersed in the emotion of this music. Beautiful. 
*Ebene* - that first movement is immense and the playing throughout is technically superb (listen to the cello in the 2nd movement). With a little more dynamic variation in the finale this would be at the very peak. Still fantastic 
*Turner* - one of 2 outstanding historically informed performances but you want Beethoven quartets on period instruments this a great alternative to modern instrument traversals. Highly expressive, dynamic and characterised account. 
*Kuijken* - for those that want a period-type performance its either this or the Turner quartet except this in on modern instruments as opposed to the Turners. My teeny, tiny preference is for this fine disc but both are exceptional. 
*Suske* - solid and warm theres little quirky touches here that I'd missed before. The Suske's analogue Razumovskys are a pleasure. This is no exception. Reminds me of a better played, better recorded Talich performance.

*Standing on Top of the World*

*Takacs* - here he goes again, says everyone, putting the Takacs at the top! You may ask why? Simply it's because they are absolutely brilliant here. Dynamics, tempi, rhythm, emotional strength and sheer technical athleticism make this a recording of incredible magnitude. Unquestionably, for me, the Takacs are masters of the Rasumovskys, even if others have string claims too.
*Leipziger* - elastic, energetic and rip-roaring playing from the brisk, unique, effortless and utterly engaging Leipzigers. The dynamics and phrasing in the final movement are incredibly well-judged and joyful. 
*Prazak* - the Prazaks are a joy throughout all the Razumovskys and this is another beautifully caught achievement. It's all special but the last two movements are simply sensational. Tonally and dynamically vivid.


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