Ludwig van Beethoven (1770-1827)
Complete String Quartets, Volume 1
String Quartet in F, Op. 18, No. 1 (1798-99, revised late 1800)
String Quartet in B flat, Op.18, No. 6 (1799-1800)
String Quartet in F minor, Op.95, Serioso (1810)
String Quartet in F, Op. 59, No. 1 (1806)
String Quartet in E flat, Op. 127 (1824-1825)
Doric String Quartet
rec. 2021/2023, Potton Hall, Dunwich, UK
Chandos CHAN20298(2) [2 CDs: 157]

Recording a cycle of Beethoven’s complete string quartets in instalments, artists can record in chronological order of publication or mix and match. Here the Doric Quartet (henceforward DQ) do the latter: I find the resultant focus on Beethoven’s development illuminating. Laudable, too, is Chandos providing 2 CDs for the usual price of one.

With Quartet 1 in F, op. 18/1, most memorable for me is the slow movement in D minor, Beethoven’s presentation of Romeo and Juliet, though not in Shakespeare’s sequencing. The first violin presents Juliet’s first theme lament, grief-stricken, fragile. The second violin leads a sighing assimilation of the situation, Juliet’s helper, from which emerges the second theme’s optimistic F major (CD1, tr. 2, 2:03), sweetly accepted by Juliet, first violin Alex Redington exquisite. But the continuation of such refined musing is sternly thrust aside by the second violin, an implacable member of the opposing family, and viola’s loud entry with the opening theme, a ‘get real’ call. Redington first tries to combat in kind with waspish thrashing but transforms this to soft, eloquent pleading variation of four notes opening the first theme. Will its soft return now suffice? No, the second violin and viola viciously attack it. The return of the second theme is offered as panacea, but now in D major it sounds dark-grained and gaunt, those musing echoes passing through all the players’ unavailing benevolence. Come the coda (7:09), the cello Romeo with the first theme hard pressed, a diminished seventh chord climax (7:48), in Beethoven’s sketches identified as Romeo killing himself, and ‘all’s lost’ close with great pathos from Juliet. In giving all the players roles, community tragedy, blame and anger is revealed. With extreme dynamic contrasts, the DQ give a vivid, dramatic performance.

My comparison: the Takacs Quartet (Decca 4708482, download only in UK) recorded 2002. Timing at 8:59 to DQ’s 8:22, TQ’s first violin first theme has more steely resilience of love, the beauty of melody of youth more apparent. The second theme emerges more warmly from gentler musing and the opposition is similarly milder. This more beautiful performance is attractive, but tragedy is pared down. The coda’s agitation is less immediate, but Juliet’s melting closing lament is heartrending.

With Quartet 6 in B flat, op. 18/6, the finale titled La Malinconia is an extraordinary attempt by Beethoven to outline stages in the state of mind of one subject to melancholy. For Beethoven it’s a terror but he suggests recovery strategies. His finale begins in very soft Adagio contentment, DQ give it a hallowed quality, but come the first of many loud chords alternating with soft ones (tr. 8, 1:02), menacing attack begins, exhaustion results. Rescue comes with Allegretto quasi-Allegro jollity (3:33), the first violin’s continuous semiquavers a gym workout. But sforzandos still inhabit the lower strings and DQ give them full measure. Manic restlessness beneath a façade of heartiness, Redington’s coloratura displays striving towards charm. The Adagio returns (5:43), a ghostly harmony remembering content, Allegretto (6:30) a little slower and soon curtailed, Adagio (6:36) of rich foreboding but then Allegretto (6:46) just about establishing a rhythm to sail on regardless, wonderful detail of slivers of hope from DQ. Finally, true charm with a lovely Poco adagio solo from Redington (7:40) before the closing manic Prestissimo charge (7:54), enchantingly nifty, with DQ’s closing chords still having sting.

TQ, recorded 2003, provide intensely considered Adagio statements with wilder loud contrasts. Their Allegretto sections are lighter, first as if nervous of being brazen, but you witness the rhythmic clock coming to life and their softer presentation realises joy in straitened circumstances. The Adagio return seems more stable, the late forte attack a shock. The Allegretto return endeavours to reset the clock; the Adagio return is sober. The final Allegretto return is deliciously light, quietly overcoming all difficulties, the Poco adagio sweet and Prestissimo shimmering. TQ end optimistically, DQ with barbs of realism.

Which movement on these CDs do I most look forward to hearing? The first of Quartet 7 in F, op. 59/1.  Beethoven at his most congenial. This movement is about the art of being happy. The approachability of its opening theme, passing from cello to first violin, projects all excitingly forward, bursting into a second theme (CD2, tr. 1, 0:28), a cousin of the first. Abrupt, rhetorical, where the first is benignly smooth and the second outlandishly whimsical in its changes of harmony, emphasised by Redington’s cheeky portamento at 0:40. The second part of the second theme (0:45) is a dolce counterpart to the first but swells into recollections of it. The seamless variety of flowing integration of material is stunning, especially the way DQ play. Listen to the gusto with which cellist John Myerscough transforms recent balm to the prickly second theme opening (1:12). First theme false recapitulations are quickly discarded for new territory and second development, a fugato on two themes, the second phrase of the opening theme (3:05) and the varied rhythm and soft then loud chords of the second theme (3:34). This fugato creates a luminescent tension and DQ achieve radiance through it. DQ’s final recap of the first theme (8:41) is incandescent.

With the Emerson Quartet recorded in 1994 (Deutsche Grammophon 4778649), the approach initially seems more relaxed (the first theme is marked dolce) but assured and climaxes for the second theme entry, then back to relaxed for its second part. I like this mix and the feeling melody is at its heart, though the contrasts of dynamic are very apparent. Generally, there’s a more ruminative than dramatic approach, interplay between instruments appreciable. The first violin never dominates except through sweetness. The fugato on the first theme is more introspective, that on the second more bracing, the first theme climax swaggering, albeit less vivid than DQ’s.

With Quartet 11 the first movement makes an astounding impression. A dialogue between a hasty and choleric man in staccato quavers and semiquavers with a lady countering with an expansive soaring melody from the first violin, with faster rhythms lurking. A contest between bitterness and hope. The lady gains support in presenting the second theme (CD1, tr. 9, 0:35), her first unchallenged statement, and her presence becomes sweeter and nostalgic. The fire reaches its height in a brief development (1:44): the man becomes more violent; the lady grows in passion. The surprise is the evenness of this contest. The storm blows itself out. DQ in turn produce a performance of savagery and golden conviction.

With the Brodsky Quartet, recorded 2018 (Chandos CHAN 20114(3)), the contest is less equal because the man is a force of nature, the lady a shadow of a former relationship. DQ’s man has more hair-raising frenzy but the lady more mellifluous density, still maintaining the memory of a relationship worth salvaging.

I end as I began, with a slow movement selection. Whereas Quartet 1’s is anguished, Quartet 12’s is a serene set of variations. Marked Adagio ma non troppo e molto cantabile, the key factors are flow, song and reverent affection. The theme, begun by the first violin, is soon echoed soulfully by Myerscough’s cello with Redington assuming a playfully loving descant, an entirely different couple relationship from that of Quartet 11. Its second strain (CD2, tr. 6, 1:31) has a soft start again which builds and rises eagerly. Variation 1 (2:53) with denser instrumental texture is a rhapsodic treatment of the theme with especially ardent high register from first violin, DQ both intense and shining. Variation 2 (5:39) is a marked contrast, Andante con moto, DQ making it spruce, a delightful, carefree strut. Variation 3 (7:30), Adagio molto espressivo, more contrasted soulful yet loving alternation of first violin and cello, the second strain now more meditative. Variation 4 (9:59) finds the same pair providing ecstatic cantabile leading with a retrospective, even nostalgic quality. Variation 5 (12:26), sotto voce, goes eerily into the unknown until the first violin rescues the theme and Variation 6 (13:59) has Redington in a well nuanced relaxation of it to a stream of legato semiquavers and coda (15:32) in which A flat major is ultimately reinstated from an ethereal height.

The Brodsky Quartet, recorded 2019, convey an intimate, domestic setting where with DQ I feel a grand stage portrayal. Thus, DQ are soon intense even in presenting the theme where BQ are quietly melodious and gentle, savouring the latter characteristic of the second strain where DQ focus on its projection. In Variation 1 DQ are rhapsodic, BQ meandering, more contained but beautifully balanced. In Variation 2 I prefer BQ’s lighter jeu d’esprit, simply enjoying individual freedom. BQ’s Variation 3 conveys a more affectingly heartfelt beauty in a cherished vision. In Variation 4 first violin Daniel Rowland’s upper register is haunting and dialogue with cellist Jacqueline Thomas very moving. Variation 5’s sotto voce breathtakingly conveys a more ghostly remoteness and in Variation 6, though less sweet than Redington, Rowland achieves a more ethereal stillness. DQ bring pizzazz and colour but latterly in this movement BQ find more magic. With both performances revelatory, your choice.

 Michael Greenhalgh

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