This is the second of what will become a complete cycle of the Beethoven String Quartets. Like the previous volume (“Inventions”), there is a representation of each of the three periods of the composer’s composition career.
The so-called “early period” is represented by the String Quartet Opus 18 No. 2, and it’s one of the better performances in this volume. Rather than the revolutionary Beethoven, we have a sense of a cheeky student who goes sideways by still holds the torch. This is much more evident when listening to this set along the Casals’ outstanding account of the Haydn Op. 33 quartets.
The two Op. 59 quartets we have in this volume (No. 2&3), are nicely done indeed, with the slow movements reserved in style, both in dynamic range and in the manner of which the group phrases the long musical lines. It may be less artificially exciting than other digital versions by, say, the Balcea Quartet or the famous Tackás version, but is no less effective or moving.
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The Haydn homage is again prominent in the scherzo of the third quartet of Op. 59, and the finale has the right balance between excitement and sense of organization, never sounding hectic nor breathless like on many other versions. There is a measured refinement to all, as in the flowing Andante, with accents acutely projected without overdoing it.
Throughout the set, all of Cuarteto Casals’ memorable characteristics hailed on their previous releases are present: a solid sense of rhythm and classical perception of the pieces, with each movement built toward a thoroughly planned climax; An almost perfect blend in full chords and a distinctive solo work in movements such as the fugue of Op. 59/3. The bows and left hand work is taking note of period instruments practices but is not a slave to it, bringing about some additional warmth and decorating vibrato when called for.
This high-level organization works best with the so-called “Harp” quartet, perhaps one of the best versions to be released in many years, and the highlight of this volume. Where it works less well (as in the previous volume), is in the late quartets, here represented with Op. 132. Although impressively played, with a serene take on the challenging slow movement, it’s also less mysterious. Maybe some mysteries better remain unsolved.
Good, opened and well-balanced recording quality, taken from the Teldex studio (Berlin) on March and May of 2018.
Comparisons for this repertoire are wide, and there is no need to dispense with the solid versions of Op. 59 by the Quartet Italiano or the recent Balcea Quartet, if you care for the stormy, concerto-like breakthroughs of the soloist of the latter. The Op. 18 quartets are superbly served by the Takács on Decca, as well as the late quartets (the Italiano group is superb here as well, if a bit heavy handed to today’s ears). But this set is becoming an important addition to the catalog, with performances that bring contrasting approaches together quite persuasively.
Beethoven – “Revelations” – Complete String Quartets, Vol. 2
String quartets Op. 18 No. 2, Op. 59 No. 2&3, Op. 132
Cuarteto Casals
Harmonia Mundi, CD HMM902403.05
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