Beethoven: The Late String Quartets AV2356
Disc 1
String Quartet in E-Flat Major, Opus 127
String Quartet in A Minor, Opus 132
Disc 2
String Quartet in B-Flat Major, Opus 130
Große Fuge, Opus 133
and Alternate Finale
Disc 3
String Quartet in C-Sharp Minor, Opus 131
String Quartet in F Major, Opus 135
When people discuss the greatest contributions to the arts in Western civilization, names such as Shakespeare, da Vinci, and Beethoven inevitably arise. Proponents for Beethoven cite his five late quartets, which were the final works that he completed. In this three-disc set, reissued here on Avie Records, May 6 2016, the Cypress String Quartet brings a fresh voice of humanity and clarity to these monumental works.
The final disc completed for this set includes Beethoven's String Quartet in E-flat Major, Opus. 127 and his String Quartet in A Minor, Opus 132. These performances were recorded at Skywalker Sound by engineer Mark Willsher and produced by Cypress first violinist, Cecily Ward.Read Fanfare Magazine's review of this box set
Included in the box set are program notes written by Joseph Kerman, the author of The Beethoven Quartets (W. W. Norton & Company).
In addition to the physical CD, high-resolution, audiophile-quality versions of this album are available for purchase in both 44khz/16-bit and 96khz/24-bit uncompressed .WAV audio formats via artistconnex, powered by Downloads NOW!
Purchase this album direct from the artists at cypressquartet.bandcamp.com
SAMPLES / TRACK LISTING
- Beethoven 127-1 1. String Quartet in E-Flat Major, Opus 127: Maestoso - Allegro 6:05
- Beethoven 127-2 2. String Quartet in E-Flat Major, Opus 127: Adagio, ma non troppo e molto cantabile 14:44
- Beethoven 127-3 3. String Quartet in E-Flat Major, Opus 127: Scherzando vivace 8:54
- Beethoven 127-4 4. String Quartet in E-Flat Major, Opus 127: Allegro 6:47
- Beethoven 132-1 5. String Quartet in A Minor, Opus 132: Assai sostenuto - Allegro 9:49
- Beethoven 132-2 6. String Quartet in A Minor, Opus 132: Allegro ma non tanto 8:32
- Beethoven 132-3 7. String Quartet in A Minor, Opus 132: Molto Adagio - Andante 16:12
- Beethoven 132-4 8. String Quartet in A Minor, Opus 132: Alla marcia, assai vivace 2:14
- Beethoven 132-5 9. String Quartet in A Minor, Opus 132: Allegro appassionato - Presto 6:31
- Beethoven 130-1 1. String Quartet in B-Flat Major, Opus 130: Adagio ma non troppo - Allegro 14:18
- Beethoven 130-2 2. String Quartet in B-Flat Major, Opus 130: Presto 2:07
- Beethoven 130-3 3. String Quartet in B-Flat Major, Opus 130: Poco scherzoso: Andante con moto ma non troppo 7:25
- Beethoven 130-4 4. String Quartet in B-Flat Major, Opus 130: Alla Danza tedesca: Allegro assai 3:57
- Beethoven 130-5 5. String Quartet in B-Flat Major, Opus 130: Cavatina: Adagio molto espressivo 6:34
- Beethoven 133 6. String Quartet in B-Flat Major, Opus 130: Original finale (1825): Grosse Fuge: Overtura - Fuga (Opus 133)15:15
- Beethoven 130-6 7. String Quartet in B-Flat Major, Opus 130: Alternate finale (1826): Finale: Allegro 10:48
- Beethoven 131-1 1. String Quartet in C-Sharp Minor, Opus 131: Adagio ma non troppo e molto espressivo 5:44
- Beethoven 131-2 2. String Quartet in C-Sharp Minor, Opus 131: Allegro molto vivace 3:06
- Beethoven 131-3 3. String Quartet in C-Sharp Minor, Opus 131: Allegro moderato 0:43
- Beethoven 131-4 4. String Quartet in C-Sharp Minor, Opus 131: Andante ma non troppo e molto cantabile-Piu mosso-Andante moderato e lusinghiero-Adagio-Allegretto-Adagio ma non troppo e semplice-Allegretto 14:27
- Beethoven 131-5 5. String Quartet in C-Sharp Minor, Opus 131: Presto 5:19
- Beethoven 131-6 6. String Quartet in C-Sharp Minor, Opus 131: Adagio quasi un poco andante 2:13
- Beethoven 131-7 7. String Quartet in C-Sharp Minor, Opus 131: Allegro 6:58
- Beethoven 135-1 8. String Quartet in F Major, Opus 135: Allegretto 6:41
- Beethoven 135-2 9. String Quartet in F Major, Opus 135: Vivace 3:20
- Beethoven 135-3 10. String Quartet in F Major, Opus 135: Lento assai, cantante e tranquillo 7:17
- Beethoven 135-4 11. String Quartet in F Major, Opus 135: Grave ma non troppo tratto - Allegro 6:56
Disc 1 [Opus 127 and Opus 132]
Disc 2 [Opus 130 and Opus 133]
Disc 3 [Opus 131 and Opus 135]
Fanfare Magazine Review
Sep.4, 2012
First, bravo! Another modern-day ensemble acknowledges the importance of placing the B♭-Major Quartet’s Grosse Fuge ahead of the alternate finale. The resisters, like the recently reviewed Shanghai Quartet, are in an ever-growing minority, one that, in my opinion, deserves to be discredited.
Second, bravissimo! The Cypress String Quartet’s traversal of Beethoven’s late quartets is the best, bar none, I’ve yet to encounter. These are performances of a technical perfection and keenness of interpretive insight that one is apt to hear only in the mind’s inner ear. Tiny details seen in the score but almost never heard are revealed with crystalline clarity. For example, in the opening Adagio measures of the B♭-Major Quartet, how often does one actually hear the C-G double-stop in the viola part on the upbeat to the sixth full bar? Yet here it is, as clear as can be, to no small degree the result of the Cypress Quartet players’ scrupulous observance of every one of Beethoven’s crescendo swells to a p and a recording of unusual penetrability.
But there’s something that goes way beyond following the composer’s dynamic and phrasing instructions or taking the lengthy exposition repeat, and it has to do with a musical intuition and vision of the work that, frankly, strikes me like a bolt of lightning. Every one of the quartet’s six movements, including the Grosse Fuge (seven if you count the alternate finale), and not just the Alla Danza , is played as if it were a dance. As many times as I’ve heard this quartet, it never before occurred to me that it’s as much an “apotheosis of the dance” as is the composer’s Seventh Symphony. Each of the quartet’s movements is informed by a stylized dance form of one type or another. The first movement opens with a stately entrée grave in 3 and then proceeds to alternate with a lively, vigorous, bounding type of dance in 4, perhaps a galliard. The second movement (Presto) in cut time might easily have its roots in the tarantella. The third movement (Poco scherzoso) bears certain characteristics of a gavotte. The fourth movement (Alla Danza) is a sad little Viennese waltz. The fifth movement (Cavatina) is, of course, the quartet’s sarabande, and the alternate finale could well be a rigaudon or tambourin. That leaves the Grosse Fuge , which in this context now becomes all important and lays claim to its hierarchical position as the quartet’s rightful conclusion, for it embodies all of the dance impulses that precede it. When you listen to the Cypress Quartet play this work, you will hear Beethoven’s B♭-Major Quartet as the dance suite it probably is, and you will quite literally hear the music dancing.
This is a very special performance, but it’s not the only one. The A-Minor Quartet’s great “Heiliger Dankegesang” is of a transfixing concentration and intensity that will melt your heart and bore a hole through your soul. And again, the combination of the ensemble’s clarity of voicing and the transparency of the recording expose every tiny scrap of filigree in the contrasting andante sections of the movement. This is music-making that will hold you absolutely spellbound in its thrall.
If reverence and awe, then joyful embrace, are Beethoven’s vision of a personal God in the “Heiliger Dankegesang,” what vision does he impart in the cold, impersonal, remote, and alien cosmogony of the C♯-Minor Quartet’s opening fugue? Is it that of Schubert peering into the dark, fathomless abyss? No, it’s the vision, rather comforting in its own way, of a universe neither benevolent nor malevolent, but unmindful of us and unfolding as it should. The key to capturing the essence of this music is not to play it devoid of expression but to play it with an expression that expresses expressionlessness. This the Cypress Quartet achieves with a feeling of aloofness and detachment conceived most immaculately.
Exothermic vs. endothermic—all-embracing warmth vs. calculated cold in the two preceding quartets. Where does Beethoven go from here? To foppery and tomfoolery in the final F-Major Quartet, a work filled mostly with good-natured humor and a generosity of spirit. But there remains the quartet’s Lento assai, a movement that, with its concluding autistic suspensions repeated over and over again, foretells the Mahlerian leave-taking—“ewig … ewig … ewig”—at the end of Das Lied von der Erde.
From my very first encounter with the San Francisco-based Cypress String Quartet in 33:2, I knew this was not just another string-quartet ensemble, that this was a group of special talent that was marked for greatness. I noted then the awesome technical resources and communicative expressiveness of these players and singled them out as my then current favorites in this repertoire. Nothing has changed since I made those statements. If anything, the completion of this set of Beethoven’s late quartets with the Nos. 12 and 15 has only reinforced my feelings. I would now pick the Cypress String Quartet over the Cleveland, Emerson, Artemis, Endellion, and Takács quartets and the Tokyo Quartet’s recent remake. It will now be a shame, and a major disappointment, if the Cypress String Quartet does not complete its Beethoven cycle with the early and middle quartets. This is potential Want List material and urgently recommended.
Jerry Dubins