Few ensembles have characterised the A major's cantering first idea as happily as the Tokyos do here, while the ethereal and texturally variegated middle movements anticipate the very different world of Beethoven's "late" quartets. Try the first movement of Op 18 No 2 at 3'56": this could be one person playing the start of the finale. The old quartet cliché about "leaning together" is here a principal attribute. The Scherzo's skipping gait, incisive but lightly dispatched, is another source of pleasure, and so is the seemingly effortless swirl of the closing Allegro. Even as early as No l's pensive opening, you notice how skilfully rests are being gauged, contrasts in colour and inflection, too: the way the clipped first motif leads into its sweetly imploring extension a couple of bars later. The reason is primarily one of balance, not only within the group itself but also in terms of overall musical judgement - whether relating to tempo, dynamics or emphases, or simply the way the players combine a sense of classical style with an appreciation of Beethoven's startling originality. Much as I have enjoyed other digital recordings of Beethoven's first quartets by (for example) the Takacs and Lindsay Quartets, this new Tokyo set just about pips all rivals to the post. Quartet for Strings no 6 in B flat major, Op. Venue: The Fisher Center for the Performing Artģ. Label: Harmonia Mundi Catalog #: 907436 Spars Code: DDDġ.
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