# Beethoven - String Quartet 10 'Harp' op.74 (SQ review)



## Merl (Jul 28, 2016)

In the 10th quartet the "Harp" refers to the lovely pizzicato sections in the first movement allegro where quartet members alternate notes so it sounds like the plucking of a harp. The name was created by Beethoven's publisher, not the composer himself (at least it was a decent nickname). Beethoven's first movement is a short Adagio introduction followed by an Allegro where the melody appears and the pizzicato arpeggios are played by two instruments accompanied by the other two. Later, these appear simultaneously at the climax of the movement. The 2nd movement is a touchingly fine adagio followed by a boisterous and terrific presto incorporating a fine trio. The only slight let-down for me is that Beethoven decided to end the quartet with a set of rather plain variations. I've always thought the Harp needed something stronger as it's conclusion but it's still an excellent quartet, whatever. Performance-wise I don't usually like a laboured presto (the Veghs and Schaffers play this one too slow) and those pizzicato in the first movement have to be crisp and plucky but if anyone can convince me in their account then tempi isn't as important. Anyway, I had to leave lots of fine recommended performances out (Kodaly, Colorado, Hungarian, Elias, Cypress, Auryn, Endellion, Goldner, Kuss, Borodin, Talich, Brodsky, Moscow, HABE Wien, etc) as there are so many recordings so I've only focused on my highly recommended recordings here. I hope there's something new for you to listen to on my list. Incidentally, to watch an excellent live version of this quartet try the Danish Quartet on YouTube, who play this incredibly well.






*Well Recommended

Budapest (1951)* - an early mono pick to kick us off and it's a valuable historic one in clear, clean sound. The Budapests thunder through the presto in record time (but not as quick as their earlier recording). Essential listening.
*Gewandhaus* - one where the sum of the parts is winning. Very graceful and beautifully articulated. Gorgeous 2nd movement.
*Miro* - as Gewandhaus above
*Leipziger* - played with a minimum of fuss and with less vibrato than others. The phrasing is lovely and the pacing is just right.
*Dover* - very tight, brisk performance that is technically superb. Easy to recommend on all fronts.
*Orion* - mid-paced but engaging reading full of great dynamics and strong rhythms
*Tokyo (RCA & Harmonia Mundi)* - both are sensuous, lyrical recordings with particularly delightful slow movements.
*Di Cremona* - exciting performance that certainly gets the blood racing but perhaps they miss some of the charm on the way.
*Melos (DG) *- the Melos don't hang around in the quicker parts and play with an elastic rhythm and snap.
*Philharmonia Quartett Berlin* - idiomatic and engaging. Some different and intriguing phrasing and dynamics.
*Alcan* - a fine recording where they seem to judge everything just right.
*Cleveland* - like the Alcan recording the Clevelanders seem to have a firm grip on the structure here. Clear lines and fine ensemble.
*New Budapest* - a more blended but equally valid approach giving a lovely, coherent reading.
*Alexander (Arte Nova & Foghorn) *- 2 very similarly fine recordings with very similar timings. The later recording is fuller but the first one is full of youthful vigour.
*Sine Nomine *- a convincing effort with the right blend of tone, earthiness and beauty.
*Emerson* - strong and technically adroit. They're blisteringly quick in the presto but it's done so skilfully I find it captivating.
*Martinu* - unmistakably Czech sounding a la Smetana quartet. I really enjoyed this quirky and dramatically phrased account.
*Juilliard (1965) *- fine individuality in this exquisitely played account that's tense, energetic, muscular and agitated.
*Eroica* - so much to like in this period performance but I'd like them to dig a little deeper with some more muscle. Still a damn fine version.
*Guarneri (RCA / Decca) *- both fine accounts of the Harp. I like both equally and couldnt say which I prefer. The Guarneri's interplay in the 1st movement is especially enjoyable in both accounts.
*Belcea* - confident, strident and fresh, the Belceas never try to push too hard and let the performance unfold naturally.

*Superb

Lindsays (2003) *- wonderful pizzicato. Some missed subtleties but I enjoyed their vision and power a little more than their previous reading, which is eminently recommendable too.
*Engegard* - another that buzzes with youthful excitement in quicker moments and sensously in slow moments. Those pizzicatos in the 3rd are handled magnificently.
*Arianna* - if the Arianna's late quartets are as good as what's come before we're in for a treat. Common-sense but individualistic recording that has a feel that's like a warm hug. Lovely tone too.
*Parker* - lighter and more lyrical than many their tone is simply gorgeous and they don't hang around like the Veghs (for example) who take forever to get through the Harp. Loved this one.
*Orford* - lots of rhythmic snap and keen phrasing and articulation. Very impressive.
*Wihan (live) *- very similar in style and approach to the Orford (above). Both very rhythmical accounts.
*Smetana (Denon) *- they have an idiomatic and lovely way with this quartet and occupy a very different soundworld to many others.
*Ehnes* - an outstanding recording from an impressive new part-cycle (will Ehnes finish it)? Full, rich and impressive recording played with style.
*Vlach (1960)* - intensely broad but quirky reading that had me from the off. No-one plays this quite like the Vlachs.
*Suske* - yet again, I love the Suske's slightly sinewy (but not unpleasant) tone and they dig in through the presto.
*Prazak* - listen to those vivacious pizzicato in the first movement! A strong and beautifully paced performance of real fire and passion.
*Casals* - Vital and lithe with a zippy presto and fantastic articulation throughout. Their phrasing is hugely impressive.
*Vermeer* - the best Vermeer performance from their cycle? Possibly not, however the Vermeers are strong, smiling and thoughtful here and really launch into the 3rd movement, especially, with great aplomb.
*Italiano* - slightly broader but spectacular performance, the final movement is as good as it gets.
*Artemis* - the Artemis play with limited vibrato and a nice snap that I really loved. The presto is as quick as the Budapests but in terrific sound.

*Stellar

Takacs* - 2nd movement slower but works. Listen to their wonderful control of phrasing and ensemble . A fairly brisk presto is delicious.
*Ebene* - a powerful but detailed live recording with the Ebene sounding especially good in the 1st and 2nd movement (try the string-crossing in the opening few minutes of the 1st). Glorious.
*Fine Arts* - Vital, energetic and just wonderful performance. Everything comes together brilliantly here and the 1st and 3rd movements crackle with excitement
*ABQ* - visceral power and complete control in a classic interpretation that beats their live account hands-down.
*Quatuor Turner *- if you want a period performance this one edges out the Eroicas as its just so energetic and incisive. There's a real air of mystery around the whole performance and the engineered sound is spectacular. Just divine


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## juliante (Jun 7, 2013)

Merl said:


> In the 10th quartet the "Harp" refers to the lovely pizzicato sections in the first movement allegro where quartet members alternate notes so it sounds like the plucking of a harp. The name was created by Beethoven's publisher, not the composer himself (at least it was a decent nickname). Beethoven's first movement is a short Adagio introduction followed by an Allegro where the melody appears and the pizzicato arpeggios are played by two instruments accompanied by the other two. Later, these appear simultaneously at the climax of the movement. The 2nd movement is a touchingly fine adagio followed by a boisterous and terrific presto incorporating a fine trio. The only slight let-down for me is that Beethoven decided to end the quartet with a set of rather plain variations. I've always thought the Harp needed something stronger as it's conclusion but it's still an excellent quartet, whatever. Performance-wise I don't usually like a laboured presto (the Veghs and Schaffers play this one too slow) and those pizzicato in the first movement have to be crisp and plucky but if anyone can convince me in their account then tempi isn't as important. Anyway, I had to leave lots of fine recommended performances out (Kodaly, Colorado, Hungarian, Elias, Cypress, Auryn, Endellion, Goldner, Kuss, Borodin, Talich, Brodsky, Moscow, HABE Wien, Cleveland, etc) as there are so many recordings so I've only focused on my highly recommended recordings here. I hope there's something new for you to listen to on my list. Incidentally, to watch an excellent live version of this quartet try the Danish Quartet on YouTube, who play this incredibly well.
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Really


Merl said:


> In the 10th quartet the "Harp" refers to the lovely pizzicato sections in the first movement allegro where quartet members alternate notes so it sounds like the plucking of a harp. The name was created by Beethoven's publisher, not the composer himself (at least it was a decent nickname). Beethoven's first movement is a short Adagio introduction followed by an Allegro where the melody appears and the pizzicato arpeggios are played by two instruments accompanied by the other two. Later, these appear simultaneously at the climax of the movement. The 2nd movement is a touchingly fine adagio followed by a boisterous and terrific presto incorporating a fine trio. The only slight let-down for me is that Beethoven decided to end the quartet with a set of rather plain variations. I've always thought the Harp needed something stronger as it's conclusion but it's still an excellent quartet, whatever. Performance-wise I don't usually like a laboured presto (the Veghs and Schaffers play this one too slow) and those pizzicato in the first movement have to be crisp and plucky but if anyone can convince me in their account then tempi isn't as important. Anyway, I had to leave lots of fine recommended performances out (Kodaly, Colorado, Hungarian, Elias, Cypress, Auryn, Endellion, Goldner, Kuss, Borodin, Talich, Brodsky, Moscow, HABE Wien, Cleveland, etc) as there are so many recordings so I've only focused on my highly recommended recordings here. I hope there's something new for you to listen to on my list. Incidentally, to watch an excellent live version of this quartet try the Danish Quartet on YouTube, who play this incredibly well.
> 
> 
> 
> ...


I love this quartet, i sometimes feel it get a bit lost between the celebrated sets preceding and following it... i find it one of the most enjoyable and engaging quartets. Looking forward to exploring these recommendations.


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