The Strad Magazin

2001
Julian Haylock

Adrenalin-packed readings on original instruments

These powerhouse recordings of two of Beethoven's most physically imposing string quartets are given on the original instruments that the composer and his colleages are supposed to have played during informal gatherings.

The Schuppanzigh Quartet rejoices in the Bonn master's sheer quirkiness and alarming juxtaposition of provocatively unvarnished ideas. Without ever pushing the music too hard - the players always seem to have time for an affectionate aside - they somehow maintain its imperative sense of forward momentum, whether in the general rejoicing of op. 59 no. 3 or op. 18 no. 4's turbulent, emotional sound world.

These instruments won't respond to lashings of modern-day fortissimo bow pressure, so that more than usual the drama unfolds as a result of the kinds of sounds the ensemble produces, Pianos are most ghostly and withdrawn, and when Beethoven craves an uncompromising driven quality (a distinguishing feature of his own playing), there is a visceral intensity about these interpretations to have one diving for cover.
The Schuppanzigh´s acut sensitivity to each work's emotional undercurrent ensures that passages such as op.59 no.3´s opening ear-tingeling harmonic interfaces have one yearning for that glorious C major allegro confirmation. And, for once, the whistlestop finale takes on a powerfully dramatic musical profile of its own, with a final rush of adrenalin to set the puls racing.

These may not be the most technically immaculate readings in the catalogue, but for a radical and gloriously abandoned rethink of what this music is all about, captured in fine sound, this is just the ticket - one of the most bracing Beethoven quartet recordings I have heared in years.
Julian Haylock