Ludwig van Beethoven (1770-1827)
String Quartets Volume 1
String Quartet No 1 in F major, Op 18/1 (1800)
String Quartet No 6 in B-flat major, Op 18/6 (1800)
String Quartet No 11 “Serioso” in F minor, Op 95 (1810)
String Quartet No 7 “Razoumovsky” in F major, Op 59/1 (1806)
String Quartet No 12 in E-flat major, Op 127 (1825)
Doric String Quartet
rec. 2021/23, Potton Hall, Dunwich, UK
Chandos CHAN20298(2) [2 CDs: 158]
One wonders after listening to many sets of Beethoven quartets, how much is left to discover? The Doric String Quartet, in this two-disc first volume of their recordings of these pieces, shows us that there is indeed much more to be learned from them, when they are played by a sympathetic and attentive ensemble.
The Doric recently celebrated its 25th anniversary of playing together, which no doubt meant the time was right for them to take on the titanic assemblage of Beethoven’s works. Instead of rattling them off in chronological order, they cleverly dip their toes into the early, middle and late quartets in this first volume, offering a refreshing change of pace that gives us a clear road map as to where they intend to take us in the remainder of the set (which I would guess will consist of two more sets).
From the very first line, it’s clear that there is no dynamic compression, and the Doric Quartet makes the most of it, giving loving consideration to all of Beethoven’s dynamic and articulation markings. Every small detail is allowed to be part of the tapestry across a nice wide soundstage and clearly separated parts. The rather dry acoustic works very much to their benefit, highlighting the fruits of their labors in a gloriously transparent and clear sound. Chandos should be very proud of the engineering work on these discs, which brilliantly supports the musicians without getting in the way with flash.
The Doric Quartet appropriately enough begins with the first Beethoven quartet, op.18/1 in F. This quartet is really a revised draft, since the composer famously withdrew the original and replaced it with the current version, saying that he had only recently learned to write quartets. And did he ever. The opening here is presented dancelike, with deft delivery, light as a feather, where others usually feel compelled to make a big dramatic statement. In the opening of the second movement, the first violin often seems to fade into virtual nothingness. One all too often finds performances of these quartets where the first violin imagines itself to be the hero of the piece, but in this case Alex Redington demonstrates he is willing to subordinate his ego to the whole, to most excellent effect. The Scherzo as played here makes clear reference to the Minuet of the First Symphony, an association I’d not previously made. The sforzandos here as elsewhere are well struck and immediately fade to quiet, while the staccatos are clear, crisp, and precise.
Similarly, the last of the opus 18 set, op.18/6 in B-flat, benefits from the Doric String Quartet’s controlled sound. But “controlled” by no means indicates a lack of feeling. In particular, the fourth movement “La Malinconia” is definitely true to its name, with heart-rending emotion. The concluding Allegretto quai Allgero is as sprightly as any I’ve heard, with luminous sound.
The first disc is rounded out by the Quartetto Serioso, op.95 in F minor. Here the Quartet shows that they absolutely can pour on the drama when it’s necessary, as in the tempestuous first movement. The octave leaps in the second movement give a sense of release after the tension of the first, as if both they and the listener are finally able to breathe freely. The sound here is lushly romantic, displaying the versatility of the musicians. The third movement returns us to the dramatic face of the Quartet, with a gorgeous balance that allows every voice in the group to be heard clearly. The Larghetto offers a sense of painful longing, while the following Allegretto agitato gives the sensation of a desire the fulfillment of which is just out of reach, all culminating in the rambunctious, joyous, but all-too-brief concluding Allegro.
The second disc opens with the first of the Razoumovsky quartets, op.59/1. One often hears that the cello is considered the closest instrument to the human voice. That’s apparent nowhere better than cellist John Myerscough’s playing in the first movement, with splendid vocalization, underlying tension and breathing. This is a broad, heart-on-your-sleeve performance, appropriate to the Russian-themed work. The second movement offers delight after delight in a light and delicate Scherzo, frothing with humour and appropriately big sforzandos. By way of contrast, this is followed by a painfully mournful Adagio, where once again the first violin does not overshadow the other members of the group as so often occurs. Sometimes it is barely audible, but it’s there and superbly controlled. The sensitive performance of this movement feels like an intimate sharing and a baring of the soul. But that’s set aside with the high-spirited Finale. The Quartet makes the most of the many false endings scattered throughout the movement, mischievously playing them to the hilt every time as if they are the real thing. That concludes in a wildly galloping final Presto, but as with everything in this set, it is completely under their control.
The final work in the set is the first of the Late Quartets, op.127, in E-flat major. The opening Maestoso chords are the one place I did miss a bit more resonance, and it feels just a shade thin. But that may be my ears having trouble adjusting to the spare acoustic of this recording after hearing so many sets of these pieces drowning in resonance. The second movement offers velvety smooth transitions, and beautiful tenderness in the upper voices. The third movement Scherzo is masterfully handled, with a sense of recklessness in its concluding Presto even as the instruments deftly toss the melody back and forth. The Finale, like the Razoumovsky, includes some significant rubato and portamento, which would be consistent with the technique of Ignaz Schuppanzigh, whose quartet premiered this work back in 1825. The Doric String Quartet’s mastery of contrast really shines here, bringing the set to a most satisfactory conclusion.
Almost all of the repeats indicated by Beethoven are observed. A few repeats in Da Capo sections are omitted, probably for time since these discs are quite full, but not so often that one feels like something is missing.
These recordings display a deep understanding of the emotional core of every moment of these works. This set gives me the same sense of rediscovery that I had when I first heard Angela Hewitt’s rendition of Bach. Needless to say, I am very much looking forward to the succeeding volumes of what promises to be an epochal set of these quartets.
Mark S. Zimmer
Mark S. Zimmer is the Project Director of The Unheard Beethoven, a website devoted to the unrecorded and unpublished works of Beethoven, and is the principal author of the daily feature, Beethoven 200 Years Ago Today.
Previous review by Michael Greenhalgh (March 13, 2024)
If you purchase this recording using a link below, it generates revenue for MWI and helps us maintain free access to the site
