Ludwig van BEETHOVEN (1770-1827)
Complete String Quartets Volume 1 – Opus 18
Quartet No 1 in F major [28:52]
Quartet No 2 in G major [23.35]
Quartet No 3 in D major [24:52]
Quartet No 4 in C minor [23:14]
Quartet No 5 in A major [28:36]
Quartet No 6 in B-flat major [25:25]
Dover Quartet
rec. 2018-2019, Sauder Concert Hall, Goshen College Music Center, Goshen, USA
CEDILLE RECORDS CDR90000198 [77:28 + 77:28]
Quartet 6 in B-flat major is the most striking. It begins in Beethoven’s most convivial manner, the Dover Quartet niftily and merrily enjoying life with the constant repartee of echoing phrases between first violin and cello, then first and second violins before gleeful rising scales in the first violin leave it in the heavens. But shining sun and ice in turn cross the quizzical second theme (CD2, tr. 9, 0:34) as its phrases alternate between F major and F minor before this is all jettisoned as the exposition is rounded off with the original jollity. The development gets to G minor (3:18) to give more airing to those rising scales at the end of the first theme before working round, via lovely new pairings of the upper and lower parts in turn, to a wonderful sense of stillness and resolution that the Dovers convey before the recapitulation and the catchy figure that heads the first theme is duplicated further with tremendous gusto by the Dovers and the melody itself extended (4:42).
I compare with the most recent recording of the Op 18 set, released in 2019 by the Quatuor Sine Nomine (Claves CD191920). Sine Nomine is less merry than the Dovers, but more scintillant: their playing has more finesse in its clarity, balance, brilliance and discipline. Yet the Dovers bring more personality, drama and colour: in particular they reveal the disquiet within the F minor phrases of the second theme where Sine Nomine styles these as a variation of the elegant whole. Recording is also a factor: the Dovers are given one quite close and intimate; Sine Nomine’s is more perspectived, making the first violin in high tessitura seem especially ethereal.
The slow movement starts simply, gracefully from the first violin, soon joined in duet by the second, the second part of the first theme (tr. 10, 0:48) of more affectionate character as the accompaniment becomes denser and warmer. When the first violin starts a more elaborate version of the theme, an independent descending figure ‘these notes well marked’ (1:16) alternates between viola and cello. In the movement’s second section the second part of the theme goes into the minor (1:39) and the second violin traces a woeful path (2:05) to a first violin descant of forlorn eloquence. As before, all instruments are soon involved and as the sforzandos cut across the texture you feel as if all the Dovers are wringing their hands. Short rests create silences in the line for more pondering. Happy ornaments like the recall of the hemidemisemiquaver fours in the first theme opening section now become sad (3:32). Only a resourceful first violin solo of chromatic rising then falling demisemiquavers can release us back to the opening section. This makes the return of this all the sweeter, with all parts, including ‘these notes well marked’ further elaborated. When the second section returns you shiver. But almost straightaway comes a salving chord and phrase with the cello playing in octaves with a low C bass drone. The coda from the Dovers (6:56) is poised and charming. They follow the movement’s progress intently: you share in a difficult experience.
Sine Nomine, timing at 7:01 to the Dovers’ 8:05, take more note of the latter aspect of Beethoven’s marking Adagio ma non troppo. This complements their dispassionate approach: the second part of the first theme homely but not affectionate; the minor key material keenly appreciated as a different rather than, with the Dovers, disturbing experience. Sine Nomine’s sforzandos are observed as part of the stresses of the line, not an intense emotional response. So, you miss the Dovers’ emotion, but you may feel that’s overdone. Sine Nomine honours Beethoven’s exquisite crafting. The hemidemisemiquavers are for all seasons and it’s easy to return to the happier material where the first violin’s high tessitura is pristine brightness.
The Dovers also make the Scherzo an uneasy experience. Since Bartok its wealth of syncopation and rhythmic displacement between the two upper and two lower instruments doesn’t seem especially reckless, but the way the Dovers hammer the abrupt contrasts of dynamic and sforzandos from the second strain and the elation of the closing ff climax signal mania. The Trio (tr. 11, 1:36) is a slight, flibbertigibbety interlude showcasing the first violin, but Beethoven’s transition to the Scherzo return (2:12), an ff prequel of its p start a reminder of the Scherzo’s more bullish second strain, is given full force by the Dovers. Sine Nomine, from its more uniform start, bleaker second strain but less vigorous than the Dovers, and its heavier Trio, provides less colour and elan.
The finale, headed La Malinconia, is an extraordinary depiction of mental and physical disturbance. It begins Adagio, pp and serene, but at the end of the phrase that is its essence the repeated last note is prefaced by effectively a triple ‘appoggiatura’ of instability, an ‘appoggiatura’ which then recurs twenty times, like a bayonet being twisted. The Dovers play all this intently with clear dynamic contrasts and nervous expectancy, sforzando shudders working to a searing convulsion-like ff climax. Then comes an Allegretto quasi-Allegro country dance (tr. 12, 3:30), niftily done by the Dovers and yet still seeming under a shadow. At its climax the opening theme returns. The dance fails to reassert itself first time but regains composure the second, a rosy poco adagio version of it (7:42) finding again the movement’s opening serenity which permits a breezy Prestissimo close (7:55), despite which the Dovers leave me haunted by a belief the melancholy will return.
Sine Nomine’s opening has more sense of specialty and eeriness: the dynamic changes and dissonances starker, the illness more advanced. The country dance at first goes spikily through the motions, but there’s a sense of disorientation. The Dovers here give it more swing and attempted heartiness with a sweeter first violin.
Ask me which is this second most striking quartet of this set and I’d say Quartet 3. If you want to know why, I refer you to my recent review of the Chiaroscuro Quartet’s performance where you will also find a detailed consideration of the Dover’s account in the discs under review here used as a comparison.
Best of the rest? For me, two slow movements, the first from Quartet 1, the Adagio in D minor, marked affettuoso ed appassionato, a lament presented by the Dovers with emotive warmth and communal support in grief and commemoration, echoing phrases shared by the group members. Happy memories come with the F major second theme (tr. 2, 2:08), beautifully done by the Dovers. With the development comes the first f, the opening theme returning, angry and pained from the Dovers’ second violin and viola (3:57), anguished decorations from the first violin, silences of emptiness as the passion subsides, a solemn recap from the first violin but affronted protest from the second violin and viola. The second theme return the Dovers welcome for its roseate consolation; but the cello’s return to the first theme is attacked by splenetic first violin ascents then both violins in a sudden nightmare to the ff climax before the pathos of the Dovers’ reserved coda (8:29).
My second choice, the slow movement from Quartet 2, a C major Adagio cantabile, measured and savoured but serene from the Dovers. The first violin quite naturally, even relaxedly, taking up the ornamentation from the end of the second phrase to develop it into showers of demisemiquavers. The Dovers’ cello is allowed to shine (tr. 6, 1:14) and the fp climax of the opening section is fervently as well as sunnily realized. The middle section (2:17) is Allegro and F major, a frisky chase in semiquavers, yet not just light and soft but with determination in its crescendos and loud endings. The return of the Adagio finds the first violin’s ornamentation in hemidemisemiquavers (3:53) and from 4:46 all the Dovers, beautifully balanced, exchanging eight demisemiquaver figures.
Michael Greenhalgh
