# Beethoven - String Quintet op.29 (review)



## Merl (Jul 28, 2016)

Commissioned by Count Moritz Fries, this is Beethoven's only full-length string quintet intended specifically for the configuration of two violins, two violas, and cello. It was composed in 1801 as he was beginning a transition between his early and middle phases. At this time Beethoven was composing his 2nd symphony and his 3rd piano concerto. His Op.29 String Quintet ('Der Sturm') marks the end of his first period and highlights some new and exciting avenues he was about to travel down. 
The 1st movement, Allegro moderato, is in sonata form with two themes (the second calm and lyrical). The hugely impressive development section features an almost symphonic statement of the main theme with a beautifully detailed recap. The whole movement is capped by a tremendous coda which again incorporates the the main theme combined with other features. The 2nd movement is a lyrical, slightly Mozartian and graceful Adagio molto espressivo with rich textures, where each instrument gets its time to shine. There's a lovely new melody partway through, too, that is played with added vitality in the coda. This is the emotional heart of the work and one of Beethoven's most beautiful slow movements. The 3rd movement, scherzo, is brisk, relaxing and full of energy featuring a 3 note motif that permeates the whole movement apart from the trio. The intro to the finale inspired the quintet’s nickname as stormy pianissimo tremolos sound in the lower strings before the first violin comes in with its playful theme. Adding to the storm is a fugato and the atmosphere turns darker. Here you can hear echoes of the main theme set against some new ideas. Eventually we move to an Andante con moto e scherzo and there's an almost comical minuet with accentuated chords. When the storm returns we expect a fairly regular conclusion but instead we hear a repeat of the Andante in a different key and a quirky coda, Surely this is Beethoven playing some musical jokes on us, a la Haydn. Getting the pacing right is essential in this quintet so rushing any movements obscures lines (one of the things that knocked the Endellion recording down the list). 
Surprisingly there are far fewer recordings of this piece than you'd expect from a Beethoven work so I'll try to cover as many as possible in the review below. If I've missed a favourite please feel free to comment in the thread (there are a surprisingly number of OOP recordings of this quintet). Interestingly a lot of older recordings fared very well here. 






Middleweight 

Accardo et al
Endellion
Kammerensemble de Paris / Bouveresse
Fine Arts / Sharon
ASMF (Chandos) 
Amadeus / Aronowitz (DG) 
Delian / Causse
Guarneri / Zukerman
WDR SO Cologne chamber players

*Super-middleweight

Ysaye / Waterman* - a more romantic approach but you feel a genuine love of the music from these players. 
*Zurich* - very classical interpretation but they manage to sound convincing and convincing and I like their focused, relaxing reading. 
*Tokyo / Zukerman* - elevated slightly above the recommended crowd by some sensitive and sympathetic interplay. 
D'Archi de Venezia / Rossi
*Elias / Broman *- I returned to this a few times and I'm glad I did as it improves with each listen. Hidden depths and finely paced. 
*Amadeus / Aronowitz (1957 RIAS)* - the best of their 3 recordings, it's sharper, quicker and more keenly focused than their DG studio account. 
*Hausmusik* - the playing/ensemble is top-rank (as is the beautifully clear recording). So why is it not at the top, you ask? Well I just find them a little bit too relaxed here. It's still excellent but I'd have liked a tiny bit more drive and power to go with the ravishing playing. 

*Cruiserweight

Medici / Rowland-Jones *- the Medicis definitely raise their game and aren't languid in slower moments, as in many of their Beethoven quartet recordings. This is a sharly focused and sonorous effort. 
*Vienna Octet (1970) * - the Viennese produce a very beautiful full tone but there's a chemistry here, in this analogue performance, that I find so comforting. 
*Kuijken / Thiers* - lithe, clean and intricate reading. Great balances and really impressive choice of tempi (which is very important in this quintet). 
*Nash Ensemble* - incisive and muscular. The kind of performance I really enjoy but I prefer the outer movements to the inners in this fine account. 
*Leipziger / Buntrock* - lush, beautiful recording with the Leipziger's gorgeous balances and faultless intonation. Absolutely nothng to fault here. 
*Lindsays / Williams* - perhaps the presence of Louise Williams reeled in a few of the Lindsays' excesses but whatever this is a damn fine recording that still has the Lindsays' personalty stamped all over it. 
*Barylli / Hubner (1953)* - The Barylli shone in Beethoven's early quartets and this vintage recording is just as joyful and magnetic with its brisk tempi and zesty rhythms. The mono sound is very clear for its age with a decent bottom end. 

*Heavyweight

Di Cremona / Dutton *- oh my, that adagio is gorgeous and I mean gorgeous, like a choir of angels singing this work! It's not just that, either. The Scherzo is divine and... Well the whole performance is pliant, brilliantly realised, intense, song-like and an absolute treasure. The best modern recording of this work out there in beefy, involving and crystal clear sound and it's twinned with a supern Beethoven op.132 Quartet too. Unashamedly my go-to recording of this work. 
*Pascal / Gerhard (1962)* - regulars here will know that I wasn't always a big fan of the often badly-intoned and craggy Pascal Beethoven cycle. However, for once, Jacques Dumont decided to play in tune for this absolute belter of a performance. Things get slightly ragged in the finale but they are so successful elsewhere that it would be criminal not to give this the credit it deserves. Sound is a bit bright, dry and upfront but it was the early 60s!
*Budapest / Trampler (1965)* - some shellacophiles will no doubt cite the 1945 Budapest / Katims recording here but the sound on that is so horridly boxy it can't make up for the tremendous playing and (apart from their earlier, quicker scherzo) I prefer this one, anyway. Praga have done a brilliant job on remastering the harsher sound (it's still not ideal) for this warts 'n all showcase. From the off you know that those involved love this work and the finale is absolutely riveting.


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