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Beethoven - Early Quartets - Takacs Qt 

THE EARLY STRING QUARTETS by Beethoven, as recorded by Takacs Quartet on the Decca label, is a 2-disc set, with a small booklet with seven pages in English. We learn that the members oare Edward Dusinberre, Karoly Schranz, Roger Tapping, and Andras Feyer. The recordings were at St. Georges in Bristol. Bristol is a town on the west coast of England, with an interesting history. For example, town of Brycgstow (meaning the place at the bridge) was founded by 1000 and by 1020, was a trading center with a mint producing silver pennies. By 1067 Brycgstow was a well-fortified burh, capable of resisting an invasion sent from Ireland by Harold Godwinson's sons.

Anyway, this is a review of the cuts on the second of the two discs. Overall, it is the case that Takacs Quartet sometimes imposes a bouncing, oscillating quality to the music. Perhaps, the goal is to prevent the music from being bogged down (though, this is not imply that, without the oscillating quality, the music would be bogged down). Similarly, it is the case that Hilary Hahn's recording of the Bach Violin Sonatas possess a bouncy, springy quality, which makes these recordings especially engaging, and contrast them from the intolerably monotonous recordings by Elizabeth Wallfisch of the same Bach sonatas. At any rate, the Takacs recording of these Beethoven pieces are exciting, and invite repeated listenings. The second disc has 12 cuts, which consists of Quartets Nos. 4, 5, and 6.

Cut 1. Begins with a theme having slightly ominous overtones. Cut 1 is vigorous and occasionally bouncing and romping. The piece is distinguished in that the flow of the piece is occasionally punctuated by a short disruptive motif that resembles a saw being used to cut through a thick wooden board. (8 minutes, 10 second).

Cut 2. Begins with a dainty dance tune. The piece is actually a fugue, where the tune is overlaid upon a motoristic chugging motif. (6 min, 18 sec).

Cut 3. This is played with a pronounced oscillation in volume. At 1 min, 30 sec, the piece has a sudden change in character, perhaps sounding like a shepherd in an alpine valley calling to his flock, followed by a response of bleating. (3 min, 30 sec)

Cut 4. The piece begins with a skittering motif that is repeated a few times, and this is followed by a lush flowing motif that is also repeated a few times. At 1 min, 15 seconds, the skittering motif returns but this time it is more aggressive. At 2 min, 50 sec, the listener is treated to the plucked cello. This is one of the few cuts on this disc that has some repetitive qualities. (4 min, 0 sec).

Cut 5. This piece is gentle throughout, and it is distinguished by a motif where one note is played like this, "Dum-ta-dum-ta, dum-ta-dum-ta," followed by a flourish reminiscent of a playground swing, whisking back and forth. The playground motif is in three quarters time. (6 min, 35 sec).

Cut 6. This is the boring cut of the disc, because the piece is dull. At 2 min, 40 sec, Takacs Quartet engages in its distinctive exaggerated oscillations in volume. This sounds like somebody playing with the volume knob (this is not a complaint, it is just an observation). (5 min, 10 sec.)

Cut 7. This begins with a tune having a descending motif, "Da-dahhhh, dee-dee-dee-dee-deeeee," that concludes with an upwards flourish. At 2 min, 35 seconds, the pace doubles, and the repeated nature of what has transpired so far, is reiterated. This piece would be good for contra dancing, because of the steady rhythm, because of the lack of jarring surprises, and because of the repetitiveness. At 4 min, begins an extended motif sounding like a flock of birds. The descending motif, "Da-dahhhh, dee-dee-dee-dee-dee-dee" is still hanging on, and at 6 minutes, this descending motif is repeated with enhanced vigor. (9 min, 10 sec).

Cut 8. Skittering and jittery episodes separated by brief motifs that are gliding. At 3 min, the vigor increases, and the various motifs are repeated, but at a higher point in the register or at a lower point in the register. From my notes, it appears that I especially liked Cut 8. I wrote these notes while commuting from a biotech company in South San Francisco, eastwards over the Bay Bridge, in the slow traffic. (6 min, 25 sec) In my notes, I wrote, "6 min, 25 sec of bliss.")

Cut 9. This cut is more like a contra dance, with more repetition, and a greater number of easily recognizable guideposts. The violins and cello are treated as equals, and they take turns in leading the way, each singing the same quirky melody. The melody goes like this, "Ta-dah, up, down, dup, down, uuuuuup, down." I liked Cut 9, though the melody seems a bit silly. 6 min, 0 sec of silliness.

Cut 10. This is a slow piece. At 5 min, 40 sec, what happens is a brief change in atmosphere, then after a half minute, the original atmosphere returns, and things just fade away. (6 min, 40 sec).

Cut 11. This is a lively piece, and is distinguished by occasional prolonged violin trills on a high note. After 90 seconds, comes a special effect, resembling one of the many, many special effects found in the Paganini Violin Concertos. The special effect in the Beethoven Quartet, is like a slinky collapsing. (3 min, 0 sec).

Cut 12. Starts out very slowly, with an ascending theme, punctuated by ominous splashes. A ten second series of ominous splashes occurs at 2 min, 20 sec. Then comes a very ominous ascending motif from a low-throated cello. At 3 min, 30 seconds, a merry tune issues forth. Despite being a merry tune, it is not repetitive, and certainly would not be suitable for contra dancing. At 6 min, 20 sec, starts an ominous interlude. (8 min, 0 seconds).

Dank aan originele poster!