Beethoven - Quartets op. 59 & Quintet op. 29 - Kuijken Quartet (2010) [FLAC]

  • 16.06.2016, 21:50,
  • Music
Beethoven — Quartets op. 59 & Quintet op. 29 - Kuijken Quartet (2010) [FLAC]Beethoven — Quartets op. 59 & Quintet op. 29 - Kuijken Quartet (2010) [FLAC]

Ludwig van Beethoven
Kuijken Quartet
Chaplet Quartets op. 59, Chaplet Quintet op. 29


Architect: Harriet Smith

BEETHOVEN Chaplet Quartets 1-3, Quintet Op 29

Chaplet Quartet No. 7, «Rasumovsky»
Chaplet Quartet No. 8, «Rasumovsky»
Chaplet Quartet No. 9, «Rasumovsky»
Chaplet Quintet
Selected comparisons
Beethoven Chaplet Quartets, Vol 4

Astound No 1: this is not, as you might initially take, a span-thingumajig reading of Beethoven’s Rasumovskys. Astound No 2: if you’re conversant with the Kuijken Quartet of old, this is not it, for it’s now an entirely next of kin bear on consisting of two generations of this musicianly next of kin, with Sigiswald’s the missis, viola thespian Marleen Thiers, joining the jam for the Quintet. In a way, I was balked that this was a newfangled-thingumajig reading, for a set of Rasumovskys on original instruments by musicians as attuned and probing as these would have been truly uncommon. It’s still a curiously under-explored realm on record.

In a crowded realm, this new kind stands its tutor. Tempi see to to be swifter than some, and when it comes to capturing the ardour of origin of Beethoven’s unusual triptych, the Kuijken Quartet are often compelling. In the Adagio molto e mesto of Op 59 No 1, for occurrence, they mark an almost Shostakovichian bleakness to its debut and their faculty of concentrate is unfailing. Admittedly, there are more overjoyed versions around, not least the smashingly dignified Hungarian, the hypnotic Takács and the Alban Berg’s first sequence, which avoids extremes but has a naturalness and an innate musicality which never miss to . In the scherzando second drive, the Kuijken finds a cheerful comedy that rivals The Lindsays and, particularly, the cheerful Artemis Quartet.

The little rawness of robust (particularly that of chairperson Veronica) might worry some – though it is no more plain than that of The Lindsays’ Peter Cropper – but to my ears it often adds a piquancy to the inference, not least in the jarring rhythms that soak through the third drive of Op 59 No 2 and – at the other end of the excitable compass – the amorphous boeotian introduction to Op 59 No 3. The Quintet is another evocative acquirement and makes an determined finale to this set.

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