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CD Description
The sixth release in the Artemis Quartet's complete Beethoven cycle, recorded as part of the ensemble's 2010/11 season in which they focused entirely on the works of the great composer.
The Artemis Quartet was formed in 1989, and now performs internationally. Previous recordings by the group have earned Germany's Echo Klassik award.
The Quartet in E Flat (Op. 127) is the first of Beethoven's five late works, and is an exuberant piece, full of unexpected developments and varying musical styles.
The Artemis Quartet was formed in 1989, and now performs internationally. Previous recordings by the group have earned Germany's Echo Klassik award.
The Quartet in E Flat (Op. 127) is the first of Beethoven's five late works, and is an exuberant piece, full of unexpected developments and varying musical styles.
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3 of 4 people found the following review helpful
A very successful installment in the ongoing Artemis Beethoven cycle
9 Nov 2010
Format:Audio CD
The Artemis Qt. began their Beethoven cycle, which has been slow going, with different personnel than the present group. the change of two players brought in a lighter, more streamlined style. I was happier with the earlier configuration. The Artemis cite two big influences on their style: the Alban Berg Qt. and the Emersons. The present group tends more toward the latter, as one can hear in their clean, precise reading of Op. 18 no. 1. Since the early quartets sound delightful when played this way, there's nothing amiss. By degrees the Berlin-based Artemis has established itself as the leading German string quartet. If we spread the net wider, I'd plump for the Hagen Qt. from Austria as their betters, but the Hagens have never done a Beethoven cycle to my knowledge.
In any case, the sound on this recording is a major asset. At long last digital technology has come close to capturing the sound of a string quartet, always a huge challenge. Every instrument here sounds real and colorful, and the ultra-detail of close miking enables us to hear the style of each player. My only complaint in Op. 18 no. 1 is that the performance seems more efficient than heartfelt, but on those grounds we are in warmer waters than with the very chilly Emersons.
In the late quartets Op. 127 is somewhat stranded, since it isn't as daring, enigmatic, or memorable as the ones to follow. But the Artemis has this work's measure (I'm reminded of how well they did with the "Serioso" Qt. Op. 95, another problem child). They give a full-bodied, committed reading with plenty of drama and complete assurance. It's hard for me to let go of the great tradition of quartet playing that reached its height in the decades that connect the Busch, Amadeus, Budapest, and Alban Berg quartets, a time when Beethoven's music was approached with deep emotion and metaphysical awe. But the old must give way to the new, and on its own terms, this Op. 127 is highly musical and intelligently put together. It's Beethoven lite in the mercurial Scherzo and flowing Adagio, but that's the territory that the Artemis have marked out for themselves. The Takacs are more biting and pointed, the Emerson more dazzling, the Alban Berg more mature, but it's fair to put this CD on their level.
I probably will never be convinced that the Artemis is equal to Beethoven's greatest masterpieces, but in this case their performances are impeccable
In any case, the sound on this recording is a major asset. At long last digital technology has come close to capturing the sound of a string quartet, always a huge challenge. Every instrument here sounds real and colorful, and the ultra-detail of close miking enables us to hear the style of each player. My only complaint in Op. 18 no. 1 is that the performance seems more efficient than heartfelt, but on those grounds we are in warmer waters than with the very chilly Emersons.
In the late quartets Op. 127 is somewhat stranded, since it isn't as daring, enigmatic, or memorable as the ones to follow. But the Artemis has this work's measure (I'm reminded of how well they did with the "Serioso" Qt. Op. 95, another problem child). They give a full-bodied, committed reading with plenty of drama and complete assurance. It's hard for me to let go of the great tradition of quartet playing that reached its height in the decades that connect the Busch, Amadeus, Budapest, and Alban Berg quartets, a time when Beethoven's music was approached with deep emotion and metaphysical awe. But the old must give way to the new, and on its own terms, this Op. 127 is highly musical and intelligently put together. It's Beethoven lite in the mercurial Scherzo and flowing Adagio, but that's the territory that the Artemis have marked out for themselves. The Takacs are more biting and pointed, the Emerson more dazzling, the Alban Berg more mature, but it's fair to put this CD on their level.
I probably will never be convinced that the Artemis is equal to Beethoven's greatest masterpieces, but in this case their performances are impeccable
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