# Beethoven Late String Quartets - Takacs & Italiano



## DiesIraeCX

*I read all of the previous threads on Beethoven's Late String Quartets*, I didn't really find what I was looking for. Mainly, specific opinions/thoughts on the individual recordings. There were a lot of rankings and listing of preferences.

I have narrowed my options between the *Takacs Quartet* and the *Quartetto Italiano*, I was wondering if I could get some opinions on these two Quartet's performances of the Late Quartets.

I've heard a couple of Late S.Quartets from both the Italiano and Takacs on Spotify, but quite frankly, I am just now getting into Beethoven's S.Quartets and I don't really "know my way" around them. For instance, I'm very familiar with Beethoven's symphonies, I could tell you that this specific conductor does well with symphonies 1, 2, 4, and 6 but doesn't do so well in the others. I've read some reviews that say Takacs/Italiano/etc. does great in the Early or Middle Quartets but not so much in the Late Quartets, or vice-versa. I don't have a clue as to why that is due to my general unfamiliarity with Beethoven's String Quartets (and chamber music in general, sadly).


----------



## KenOC

Either of your two recordings is good. The Italiano is more mellow and has more beauty of sound. The Takacs digs in (where necessary) and does what it needs to do, even if things get a bit rough. My choice is the Takacs in the late quartets.

If you're just getting into the quartets, you might consider the first Tokyo cycle, which I like a lot and kind of falls in between. And (dare I say) it's CHEAP! You can't go wrong here, and you can sort your own preferences over time. No matter what you buy, you'll end up buying more. Trust me on this!

http://www.amazon.com/Beethoven-Com...7260&sr=1-1&keywords=beethoven+quartets+tokyo


----------



## DiesIraeCX

KenOC said:


> Either of your two recordings is good. The Italiano is more mellow and has more beauty of sound. The Takacs digs in (where necessary) and does what it needs to do, even if things get a bit rough. My choice is the Takacs in the late quartets.
> 
> If you're just getting into the quartets, you might consider the first Tokyo cycle, which I like a lot and kind of falls in between. And (dare I say) it's CHEAP! You can't go wrong here, and you can sort your own preferences over time. *No matter what you buy, you'll end up buying more. Trust me on this!*
> 
> http://www.amazon.com/Beethoven-Com...7260&sr=1-1&keywords=beethoven+quartets+tokyo


Thanks, I appreciate that, and I'm certain you're right on the money about buying more and more! That's the part I'm afraid of, my wallet won't stand a chance, I'm afraid.

SQ No. 14, Op. 131. I'm tempted to say it's his finest work, more than the 9th symphony but I just can't bring myself to say it! I'm too much of an orchestra/symphony guy.


----------



## violadude

The Italiano is my choice. They're recording of the Grosse Fugue is my favorite.


----------



## Manxfeeder

My first exposure to the quartets was the Italiano on old LPs. Personally, between the two, I prefer the Takacs. But I guess your ears will make the determination for you.


----------



## Alypius

KenOC said:


> Either of your two recordings is good. The Italiano is more mellow and has more beauty of sound. The Takacs digs in (where necessary) and does what it needs to do, even if things get a bit rough. My choice is the Takacs in the late quartets....


I agree with Ken. While the Italiano have a beautiful sound, the Takacs, I believe, are special -- and, especially in op. 131. Listen to the 2nd movement (Allegro molto vivace) and the 7th (Allegro). Review from the _Gramophone Classical Music Guide 2010_:



> "The Takács evidently appreciate this music both as musical argument and as sound. Try their glassy sul ponticello at the end of Op 131's Scherzo, or the many instances where plucked and bowed passages are fastidiously balanced. Attenuated inflections are honoured virtually to the letter, textures carefully differentiated, musical pauses intuitively well-timed and inner voices nearly always transparent. This set completes one of the best available Beethoven quartet cycles, possibly the finest in an already rich digital market, more probing than the pristine Emersons or Alban Bergs (live), more refined than the gutsy and persuasive Lindsays, and less consciously stylised than the Juilliards (and always with the historic Busch Quartet as an essential reference)."


I saw them live last spring performing Bartok. One of the two or three best classical concerts I've ever seen. But I've been listening to their Beethoven almost since it came out. For me the real point of contrast would be the Alban Berg rather than the Italiano. By the way, as much as I love op. 131, my favorite is op. 132. Movement #3 (molto adagio) is deeply moving -- it explores realms of the heart that are simply astonishing. And then there's movement 5 (Allegro appassionato) -- well, I have no words for it. I would number these two of quartets of Beethoven (op. 131 and 132) my favorites. I love string quartets, absolutely love them, and listen to quartets virtually every day and from all eras, from Haydn to Elliott Carter, Mozart to Ligeti. It's my favorite genre.


----------



## TurnaboutVox

The Quartetto Italiano has been my benchmark for 30 years in late Beethoven. They dig deep into the heart of this music, but their technical command and 'togetherness' in ensemble is formidable. The recordings date from the late 60s, and although they're good, they're not up to modern standards. The Italians are less glassily perfect than the Alban Berg Quartet. I like the Tokyo Quartet, but the next set really to grip me, because it is so intimate and offers such essentially musical interpretations - I always want to sing along - was the Quatuor Talich on Caliope. They're less technically accurate and less well recorded, though, if that bothers you.

I haven't yet had the advantage of hearing all the Takacs Quartet's late quartets, though, so I can't give you a comparison with my favourites.


----------



## Guest

TurnaboutVox said:


> The Quartetto Italiano has been my benchmark for 30 years in late Beethoven. They dig deep into the heart of this music, but their technical command and 'togetherness' in ensemble is formidable. The recordings date from the late 60s, and although they're good, they're not up to modern standards. [...]


Nice to read your post, TAVox, even though my opinion differs to yours. I have no recordings of the QI as I was put off by some dodgy ensemble playing in the late LvB 4tets. I'm much more in favour of the TQ.


----------



## Guest

Can you afford both? The music is wide-ranging enough that no single performance can capture everything the Quartets have to offer.


----------



## DiesIraeCX

Kontrapunctus said:


> Can you afford both? The music is wide-ranging enough that no single performance can capture everything the Quartets have to offer.


That is probably what will end up happening, besides, I have *so many* different recordings of his symphonies (especially 9, 7, 5, 3). I should supplement the Late Quartets with additional recordings, you're right on the money about that, no single performance can capture everything the Quartets have to offer.

The supplemental purchases might have to be put on hold for a while, though. I haven't been very kind to my wallet with all the recording purchases I've made in the past few months! haha.


----------



## Guest

Kontrapunctus said:


> Can you afford both? The music is wide-ranging enough that no single performance can capture everything the Quartets have to offer.


Well, yes, I can afford both, and have various recordings (but not the QI as explained in response to TVox's post above). Of course you're perfectly right, the music is deep enough to support multiple interpretations.


----------



## hpowders

I'm happy with my Tokyo set. I also have Lindsay and Emerson, but not so happy.


----------



## KenOC

hpowders said:


> I'm happy with my Tokyo set. I also have Lindsay and Emerson, but not so happy.


The RCA Tokyo set is superb and right now is a super bargain.


----------



## Triplets

I have the Quarteto Italano set, both on lp and CD. It is a good safe choice. In general the play the long lyrical moments the best, and aren't as incisive as some of the competition in the grittier Quartets, such as Op.131. It doesn't mean that they are actually bad in theses moments, just not as good as the ferocious competition.
I also used to own the Takacz set. I wasn't real impressed and gave it away.
My two favorite sets of the late Quartets both date from the 1960s-the Hungarian Qt. and the Yale Qt. I am not sure about their current availability and I haven't heard any new set released in the past 3 years, and there have been many.


----------



## DiesIraeCX

hpowders, KenOC, thank you for your suggestions, I'll definitely have to check out the Tokyo set, and it certainly doesn't hurt that I can get it used for a mere 11$-12$ if I like what I hear!

Triplets, that's what I was worried about with the Q.Italiano, wasn't sure their style suited the grittier quartets. I'll check if the Yale and Hungarian recordings are on Spotify, I'll give them a test-listen, thanks for the recommendations.


----------



## hpowders

DiesIraeVIX said:


> hpowders, KenOC, thank you for your suggestions, I'll definitely have to check out the Tokyo set, and it certainly doesn't hurt that I can get it used for a mere 11$-12$ if I like what I hear!
> 
> Triplets, that's what I was worried about with the Q.Italiano, wasn't sure their style suited the grittier quartets. I'll check if the Yale and Hungarian recordings are on Spotify, I'll give them a test-listen, thanks for the recommendations.


I have the entire Tokyo set on RCA. They are excellent throughout the entire cycle. Hope you enjoy it.


----------



## hpowders

KenOC said:


> The RCA Tokyo set is superb and right now is a super bargain.


That's what I have. A terrific set.


----------



## Guest

The Pražák Quartet on Praga Digitals are also very good--very gritty when called for, and also lyrical as needed. I don't think they have packaged the Late Quartets--one needs to buy them separately or the entire set of Quartets. Superb SACD sound, too.


----------



## Guest

I'm a big fan of the Pražák Quartet for Haydn - nothing exceptional, but highly competent, dead-on intonation and kind of how I imagine Haydn would have liked it at the Chateau Esterhazy.


----------



## Triplets

TalkingHead said:


> I'm a big fan of the Pražák Quartet for Haydn - nothing exceptional, but highly competent, dead-on intonation and kind of how I imagine Haydn would have liked it at the Chateau Esterhazy.


Was the Esterhazy spread a Chateau, or a Palace?


----------



## Headphone Hermit

Triplets said:


> Was the Esterhazy spread a Chateau, or a Palace?


there is a thread for 'Stupid ideas for a thread' ... perhaps we need one for '_#####_ (insert derisive adjective of your chosing) _questions that could be answered using a search engine'_?


----------



## hpowders

Sometimes it's hard to tell the difference from thread to thread.


----------



## Vaneyes

I think the listener must decide between old style treatment and the newer. Also, the string tone. Also, the recording engineering.

The Late Q's must have sufficient muscle. Here, I would pay close attention to the comparisons. Good listening and good luck.:tiphat:


----------



## Mandryka

Kontrapunctus said:


> The Pražák Quartet on Praga Digitals are also very good--very gritty when called for, and also lyrical as needed. I don't think they have packaged the Late Quartets--one needs to buy them separately or the entire set of Quartets. Superb SACD sound, too.


Is this the same as the stuff on Nuovo Era?


----------



## Jos

View attachment 50711


I have this prestigious boxset from DGG in the series "the Beethoven Edition". A recording from 1970 from the Amadeus-quartet. All the quartets and quintets in one big box. Quality recordings and pressings in the best tradition of the yellow label.
Can't compare with other renditions as this is the only one I've got. I like their playing. 
A critic on the net somewhere wrote that he would like their performance a bit more "athletic".....I don't know how that would sound.
Also picked up some comments on their use of vibrato. I'm no musician, but I can't find anything overdone or "tooo beautiful". (I think that is what is meant by using too much vibrato, please correct me if wrong)

If you come across it, I'd jump, especially at the price of 2nd hand vinyl. And these boxsets are usually brand new. Bought for the posh-factor, but never listened to.

Current listening: opus 130 directly followed by Grosse Fugue. Wonderful !

Cheers,
Jos


----------



## Guest

Mandryka said:


> Is this the same as the stuff on Nuovo Era?
> 
> View attachment 50704


I don't think so...they look much younger in that picture!


----------



## Triplets

Jos said:


> View attachment 50711
> 
> 
> I have this prestigious boxset from DGG in the series "the Beethoven Edition". A recording from 1970 from the Amadeus-quartet. All the quartets and quintets in one big box. Quality recordings and pressings in the best tradition of the yellow label.
> Can't compare with other renditions as this is the only one I've got. I like their playing.
> A critic on the net somewhere wrote that he would like their performance a bit more "athletic".....I don't know how that would sound.
> Also picked up some comments on their use of vibrato. I'm no musician, but I can't find anything overdone or "tooo beautiful". (I think that is what is meant by using too much vibrato, please correct me if wrong)
> 
> If you come across it, I'd jump, especially at the price of 2nd hand vinyl. And these boxsets are usually brand new. Bought for the posh-factor, but never listened to.
> 
> Current listening: opus 130 directly followed by Grosse Fugue. Wonderful !
> 
> Cheers,
> Jos


I think that set was issued on CD a long time ago. The Public Library of the town that I was living in owned it. I remember the playing as being a bit reticent, not as aggressive as contemporary ensembles with more schmaltz and vibrato.


----------



## SARDiver

KenOC said:


> The RCA Tokyo set is superb and right now is a super bargain.


Much appreciated. I had overlooked that set initially. Perhaps I'm biased to think that inexpensive isn't as good, in matters on which I'm uneducated at least. With 3 kids, I'm on a budget, and the RCA Sony 9 disc set is currently $16 on Amazon. Thank you.


----------



## Vaneyes

Kontrapunctus said:


> I don't think so...they look much younger in that picture!


With that one awful jacket, it's gotta be the '70's.


----------



## hpowders

^^^I didn't realize that Van Cliburn moonlighted (no pun intended) on cello.


----------



## Itullian

SARDiver said:


> Much appreciated. I had overlooked that set initially. Perhaps I'm biased to think that inexpensive isn't as good, in matters on which I'm uneducated at least. With 3 kids, I'm on a budget, and the RCA Sony 9 disc set is currently $16 on Amazon. Thank you.


That set was over 120 dollars when it came out.


----------



## Vaneyes

hpowders said:


> ^^^I didn't realize that Van Cliburn moonlighted (no pun intended) on cello.


Prazak's *Michal Kaňka,* 2011.


----------



## jurianbai

nothing much to add except I listen to Vermeer Quartet on Late Beethoven SQ and think of it as good rendition. Later on it is the Borodin String quartet that I explore a lot also. I like to listening different interpretation though.


----------



## SARDiver

I'm very pleased with the TQ set. I'm a little curious about something, though. (Apologies for the OT nature of this, but it doesn't deserve its own thread, and this cycle was discussed here.)

I was listening to the 14th (one of my faves), and noticed that the sixth movement in the TQ recording seems to have a few notes from the fifth movement at the beginning of the track for the 6th. I just thought that was odd. I don't know whether it was deliberately engineered that way, or if I have some sort of goofy copy.


----------



## DiesIraeCX

SARDiver said:


> I'm very pleased with the TQ set. I'm a little curious about something, though. (Apologies for the OT nature of this, but it doesn't deserve its own thread, and this cycle was discussed here.)
> 
> I was listening to the 14th (one of my faves), and noticed that the sixth movement in the TQ recording seems to have a few notes from the fifth movement at the beginning of the track for the 6th. I just thought that was odd. I don't know whether it was deliberately engineered that way, or if I have some sort of goofy copy.


I just checked my copy (CD) and none of the 5th movement (Presto) bleeds into the 6th movement (Adagio: Quasi un poco andante). It might be your copy, but it's not the worst thing, I suppose. The 14th SQ is meant to be played continuously without a break.


----------



## SARDiver

Thank you for checking. I looked up the sheet music to make sure I knew when the movement actually began, and sure enough, the high-low-high sequence at the tail end should be on the track for the 5th movement.

There's one other little thing I've noticed in one of the pieces that, because I'm aware of it, detracts from the piece a little. I have posted it in white font below this text, so if you want to know, highlight the area. My apologies if this is showing up on someone's screen, but on mine it's invisible.

Sniffing in Op132. It's noticeable in the first 30 seconds or so of the first movement, at 11, 16, 21 and 23 seconds, but I hear it throughout the piece.


----------



## DiesIraeCX

SARDiver said:


> Thank you for checking. I looked up the sheet music to make sure I knew when the movement actually began, and sure enough, the high-low-high sequence at the tail end should be on the track for the 5th movement.
> 
> There's one other little thing I've noticed in one of the pieces that, because I'm aware of it, detracts from the piece a little. I have posted it in white font below this text, so if you want to know, highlight the area.
> 
> Sniffing in Op132. It's noticeable in the first 30 seconds or so of the first movement, at 11, 16, 21 and 23 seconds, but I hear it throughout the piece.


For your comment in white text, I've noticed this with almost all the recordings I've heard, it's more noticeable on some than others but it seems to be one of those inevitable things with String Quartet recordings. I guess it just takes a bit of practice to block it out and focus on the music, I'm still trying to do that myself. It can be a bit bothersome sometimes.


----------



## SARDiver

Knowing that will actually allow me to filter it, since it's not a true flaw or oversight.

Thank you!

I've noticed that people are really willing to help out a neophyte around here, without judgement. It's really gratifying. I appreciate your help.


----------



## DiesIraeCX

SARDiver said:


> Knowing that will actually allow me to filter it, since it's not a true flaw or oversight.
> 
> Thank you!
> 
> I've noticed that people are really willing to help out a neophyte around here, without judgement. It's really gratifying. I appreciate your help.


No problem at all! I still consider myself a neophyte to this forum and a novice listener of classical. When I made a TC account, so many people were willing to assist me in my beginner's questions. There will always be those _few _who turn their noses up at "beginners", but that's anywhere. TalkClassical is a wonderfully polite place where you will learn a lot. I've learned about new music every day I've been on here, my musical tastes have grown exponentially since creating a TC account.

Best of luck to you here.


----------



## SARDiver

DiesIraeVIX said:


> I've learned about new music every day I've been on here, my musical tastes have grown exponentially since creating a TC account.
> 
> Best of luck to you here.


Thank you!

Same here, with regard to the learning. I've gone down avenues unconsidered before joining, and would never have explored Schubert's work, for example, or delved into Haydn at all. And yes, this place seems almost an island of politeness within the interwebs.


----------



## Guest

For the late quartets, I have two sets - the Takacs Quartet and the Emerson String Quartet. The Takacs recording is my favorite - for the entire set of string quartets. I can't recommend them enough.


----------



## hpowders

The Emerson set leaves me cold. Virtuoso playing, but not much passion. I prefer the Tokyo/RCA set.


----------



## Itullian

hpowders said:


> The Emerson set leaves me cold. Virtuoso playing, but not much passion. I prefer the Tokyo/RCA set.


GREAT set..............


----------



## OlivierM

I might be off topic, but I quite like the Belcea Quartet on Beethoven's String Quartet. Did you lend them an ear ?


----------



## hpowders

There are so many performances of the Beethoven Quartets, it's virtually impossible to have heard them all.

I, for one haven't heard this group doing Beethoven.


----------



## OlivierM

It's on Zig-Zag, a (belgian or french) label, sponsored by a belgian beer tycoon. He also gives drunken money to a label which is called Aeon, and this label is very interesting, regarding the quality of their productions.


----------



## jimsumner

At the risk of belaboring, let me add another strong affirmative for the RCA Tokyo. One of the best bargains in the classical music business. Authoritative accounts and they are darn near giving them away. Start from there and spread out.


----------



## julianoq

Takacs were my favorite on the late quartets for some time, but then I got the QI's record and it became my benchmark. It is probably my most listened album ever.

But there are many performances of this works that are quite good. Recently I listened to the Busch's quartet record and even if the sound quality is not good (it was recorded on 1930's/40's), the performances are terrific.


----------



## DiesIraeCX

Thank you for the Busch Quartet recommendation. It's probably the most highly revered set of Beethoven's Late Quartets that there is, from everything I've read. Since you say it's your most listened to album, but the sound quality isn't great. You should check out the remastered set from Pristine Classical. They usually do a great job on older recordings, I have their remasters of Beethoven's 9th from Toscanini 52', Furtwanglers 42' and 54'. They sound great compared to the original recordings.

There's also a very long sample clip to show you the sound quality on the page. I'm considering purchasing it very soon. It seems mandatory to own the Busch Quartet's recording if you're an admirer of Beethoven's Late Quartets.

Thanks again for the recommendation, it is much appreciated.


----------



## StlukesguildOhio

I had the Quartetto Italiano set years ago... until some *%[email protected]!*^% stole it. It was quite pricey at the time, too.  The sound was indeed quite beautiful... but as I am not a big fan of quartets, I never set about replacing it... or getting the even more expensive Takacs Quartet set. What I do have are the late quartets by the Alban Berg Quartet, the complete sets by the Budapest String Quartet and the Tokyo String Quartet, and of course the marvelous recordings by the Busch Quartet... both the set on EMI and the classic recordings on the Dutton label:










I was a bit surprised that it took so long for someone to mention the Busch Quartet. I agree that if you are an audiophile used to listening solely to recordings made in the last decade or two, these won't meet your expectations. On the other hand... I find that while orchestral recordings from before the mid-40s (or later) often suffer in terms of sound, recordings of small ensembles, solo instruments, and vocalists are often quite good... and Dutton was as well known for its sound quality as the RCA Living Stereo series.

Another performance that received rave reviews... and that sound quite good to me (what I have heard)... is that of the Alexander Quartet:


----------



## Mandryka

julianoq said:


> Takacs were my favorite on the late quartets for some time, but then I got the QI's record and it became my benchmark. It is probably my most listened album ever.
> 
> But there are many performances of this works that are quite good. Recently I listened to the Busch's quartet record and even if the sound quality is not good (it was recorded on 1930's/40's), the performances are terrific.


You might prefer the Calvet Quartet to Busch in op 131 at least, given you don't mind old recordings. And the live recording from Busch of op 130 is well worth hearing.

One thing I don't like about Busch is the way the violins seem to dominate the ensemble.

In the one you show in the pic, op 95, there is a recording which seems so much ahead of the pack compared with all others I know that I'm going to mention it: the one from the Skampa Quartet.

The objection I have to QI is that they're one sided - reverential and serious, there's harldly any parody and slapstick, which seems a pretty major part of the Beethoven thing. It's like they've taken the Beethoven out of the music.


----------



## SARDiver

Mandryka said:


> The objection I have to QI is that they're one sided - reverential and serious, there's harldly any parody and slapstick, which seems a pretty major part of the Beethoven thing. It's like they've taken the Beethoven out of the music.


Forgive me, but I don't quite understand what you mean by parody and slapstick. I'm not musically educated, and perhaps that's the difference, but short of the cellist pulling the 2nd violinist's chair out from under him, I don't see how you do slapstick in a string quartet. Can you give an example of what you mean?


----------



## TurnaboutVox

Mandryka said:


> The objection I have to QI is that they're one sided - reverential and serious, there's harldly any parody and slapstick, which seems a pretty major part of the Beethoven thing. It's like they've taken the Beethoven out of the music.


I thought about this last night when you first posted, and realised that you are quite right - the QI are reverential and serious (in their recordings anyway) in late Beethoven. I like this, however.

Somehow the mood-tone is somewhat different in other recordings I know - serene in the Alban Berg, spiky, angular and somehow rather angry with the Lindsays, and intimate and sometimes playful with the Talich Quartet. I don't know the Endellion Quartet's performances (my latest acquisition) well enough yet to have identified the dominant affective tone, but I rather think it will have one.


----------



## Mandryka

SARDiver said:


> Forgive me, but I don't quite understand what you mean by parody and slapstick. I'm not musically educated, and perhaps that's the difference, but short of the cellist pulling the 2nd violinist's chair out from under him, I don't see how you do slapstick in a string quartet. Can you give an example of what you mean?


Yes, an example would be the boisterous comedy of the first movement of op 135. As far as parody is comncerned, there's a good example of operatic parody in op 130/v


----------



## SARDiver

Mandryka said:


> Yes, an example would be the boisterous comedy of the first movement of op 135. As far as parody is comncerned, there's a good example of operatic parody in op 130/v


Thank you. I'll give each of those a listen with your words in mind.


----------



## teej

I just have to mention the Amadeus SQ performance of the finale to SQ #13. I think their performance is unequalled for so many reasons.


----------



## BartokPizz

Late to this thread, but to me the best ensemble for the late quartets is Alban Berg on EMI, either their studio or live cycle. The live cycle has slightly warmer sound and more spontaneity, but the studio cycle is great too and (now) super cheap. I have only streamed the live cycle, but own the studio version.

You can also find a single disc of their Opp. 131 and 132 paired together for probably a few cents used plus shipping. That is one of my most played CDs.


----------



## Blake

The Italiano is so magnifico. I think I may go listen to them now, actually. Rekindle my enthusiasms for Beethoven after my hefty Mozart binge.

Edit: I also just snagged the Tokyo set. As highly acclaimed it is, and for $10, how could I say no?


----------



## hpowders

The Tokyo is the best I have. Terrific. Too bad they never recorded the Mendelssohn quartets. Damn!!


----------



## Blake

The Takacs is actually pretty amazing, as well. Listening to "The Early String Quartets." A great balance of rawness and elegance. I'm sure their Middle and Late are of equal measure. But I will find out, for sure.








Which set did you end up getting, Die? You may have to get a few of them for good measure. 

Edit: The one fault I will say about this Takacs is the high registers tend to be a bit shrill.


----------



## Blake

By the way, Tokyo finished up their complete cycle on Harmonia Mundi. I wound up snagging this one instead of the RCA. Not as cheap, but $30 ain't bad either.


----------



## Itullian

Vesuvius said:


> By the way, Tokyo finished up their complete cycle on Harmonia Mundi. I wound up snagging this one instead of the RCA. Not as cheap, but $30 ain't bad either.
> 
> View attachment 55293


I like the sound of the RCA better though.


----------



## Blake

Itullian said:


> I like the sound of the RCA better though.


The sound on this one is excellent, but I haven't heard the RCA to compare. It's nice to hear from the group when they've been together for 4 decades. Maturity.

I do find that Mundi does a better job at blending the instruments than Decca does with the Takacs. Tokyo and Takacs' musicianship are on equal grounds, for sure. Takacs may have a bit more bite, but that's not to say Tokyo is lacking the bite.


----------



## DiesIraeCX

Vesuvius, I have the Takacs, they are truly amazing. I couldn't have put it any better than you already did, "rawness and elegance" which is needed for the Beethoven Quartets, I think, especially the Late Quartets.

Incidentally, I quite literally _just_ right now received the Middle Quartets ("Razumovsky" Op.59 1-3, "Harp" Op.74) in the mail. Also by the Takacs Quartet. I'm gonna order the Early Quartets soon to complete the cycle. 

PS. Yes, I agree with you about the shrillness. It's not too bad, but still noticeable.


----------



## Blake

DiesIraeVIX said:


> Vesuvius, I have the Takacs, they are truly amazing. I couldn't have put it any better than you already did, "rawness and elegance" which is needed for the Beethoven Quartets, I think, especially the Late Quartets.
> 
> Incidentally, I quite literally _just_ right now received the Middle Quartets ("Razumovsky" Op.59 1-3, "Harp" Op.74) in the mail. Also by the Takacs Quartet. I'm gonna order the Early Quartets soon to complete the cycle.
> 
> PS. Yes, I agree with you about the shrillness. It's not too bad, but still noticeable.


Their excellent playing makes up for that bit of shrill. Check out the Tokyo on Harmonia Mundi, as well. In the ranks with one of the greatest I've heard - Italiano, Takacs, and Tokyo.


----------



## Guest

DiesIraeVIX said:


> Vesuvius, I have the Takacs, they are truly amazing. I couldn't have put it any better than you already did, "rawness and elegance" which is needed for the Beethoven Quartets, I think, especially the Late Quartets.
> 
> Incidentally, I quite literally _just_ right now received the Middle Quartets ("Razumovsky" Op.59 1-3, "Harp" Op.74) in the mail. Also by the Takacs Quartet. I'm gonna order the Early Quartets soon to complete the cycle.
> 
> PS. Yes, I agree with you about the shrillness. It's not too bad, but still noticeable.


While the Middle and Late Quartets get most of the attention and praise, I have found many gems in the early quartets - as with the others, I also have the Takacs recording for the early quartets. The entire cycle always stays on my iPod, even when some other recordings that I prize rotate out (more classical music than can be stored on a 32GB iPod Touch).

The Takacs recording of the Middle Quartets are what turned me on to string quartets in the first place - followed very quickly by the Takacs recording of Schubert's Death and the Maiden and Rosamunde quartets.


----------

