The Juilliard String Quartet’s newest release of works by Beethoven, Bartók, and Dvořák celebrates the old and the new – a commemoration of the ensemble’s 75th anniversary as well as a debut with its new first violinist. Each selection, in turn, reflects upon a transition between past and present.
Beethoven’s Razumovsky Quartets are a product of his middle period, a time where he made significant developments to the string quartet genre. The Allegro of Op. 59, No. 2 (track 1) shares common musical elements with two other famous middle period works – the striking chords that open the movement are reminiscent of the “Eroica” Symphony while the unexpected shift from E minor to F major (often referred to as “Neapolitan Chord”) is a nod to the “Appassionata” piano sonata , written around the same time.
A doggedness is what drives the Allegro. While the performers grasp it to a certain extent, something is missing. Perhaps it is the rawness, especially at the points where urgency borders on madness. A comparative recording I find more successful in this regard is from the Takács Quartet (2001). A sharper edge to the bowing and the accents creates the exciting tenacity. The opening chords are also spaced a little more widely, and consequently sink in more definitively to set the mood.
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The Juilliard String Quartet does shine, though, in the work’s lyrical aspects. In a highly expressive Molto Adagio (track 2), the performers bring out the sensitivity of the writing through a moving depiction of its pathos. For instance, the first violin’s two-note phrases (0’39”-1’12”) take the form of a tender, almost breathless voice. Nuanced partnerships between the different voices also sheds light on varied textures: the dotted figures that emerge shortly thereafter are not strictly accompanimental and metronomic, but have a soothing lull that adds an uncontrived forward motion.
The Allegretto-Maggiore (track 3) presents tastefully the Beethovenian element of contrast within a dance-like framework. It interestingly hints at the composer’s view of the quartet as a more substantial vehicle-in addition to the playful elements typical of a third movement Scherzo, the stark contrasts introduce a symphonic presence in the chordal unisons. The ensemble’s integration in these chords is well-handled; they are full and persuasive but never strident.
Bartók’s Quartet No. 3 in C# minor (Sz. 85, 1927) shares a conceptual connection to the Beethoven: migration away from a past stylistic phrase. Like Beethoven, Bartók sought to extend the breadth of his quartets. Sz. 85 is, in fact, a large single movement divided into 4 sections (later quartets even employ interesting symmetrical forms and thematic unification). It also departs from past tonal elements-Quartet No. 2, written more than a decade earlier, has discernible melodies and recognizable consonant harmonies. These exist to some degree in No. 3 but are borne out of a more nebulous context, as heard in the Prima Parte (track 5). The Juilliard String Quartet evokes the eeriness of this ‘movement’ through a slow but persistent release of unease and foreboding. A brief tonal spotlight toward the end (3”31’) gives us an illusion of hope; the performers capture its irony through a skillful color change that sees the darkness return.
The Allegro (track 6) is quintessentially Bartók with its percussive nature, folk elements, and flavorful dissonances. Here, harmonic pizzicatos serve an integral rhythmic and melodic purpose; I felt these could have been executed with more precision. The upper pitches are overpowered by the lower ones, diminishing the crispness of the articulation. The interpretation is also a bit cautious, watering down the much-needed drive.
The Op. 96 “American” Quartet reflects Dvořák’s enthusiastic discovery of what were to him new American and Bohemian cultural influences. The ensemble’s refined approach fits perfectly into this work; the Allegro (track 9) is idyllic and refreshing but also has an explorative curiosity. Another standout is the Lento (track 10), which is nicely colored by a sense of nostalgia. It keeps from becoming too maudlin, though-the ensemble successfully manages a balance between the wistful melodic lines and a paler but still elegant accompanimental canvas.
The sound quality captures the warmth and different timbre of each instrument across the works’ diverse styles. As for the liner notes, they are compact but shed adequate light on the connection between the three quartets.
This recording is an admirable effort, given the artistic and collaborative challenges these quartets pose but doesn’t quite tap into the potential for emotional impact. In short, the listener who seeks an immersive listening experience might be left wanting a little more.
Beethoven – String Quartet Op. 59, No. 2 (“Razumovsky”)
Bartók – String Quartet No. 3, Sz. 85
Dvořák – String Quartet Op. 96 (“American”)
The Juilliard String Quartet
Sony Classical, CD G010004516958U
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