Coupling the Op.130, as it now stands, with its originally 
                  intended finale, the formidable Grosse Fuge, is not a novelty 
                  but is always worthwhile. It renders a single quartet disc such 
                  as this short value in terms of timings, but it adds a colossal 
                  focus and drama. 
                  
                  Vertavo prefers a rather withdrawn, slow and tapered introduction, 
                  phrasally speaking. Their unison bowing is light, flexible, 
                  enshrining a certain irresolution, as if they feel a lack of 
                  definite purpose is at the heart of the writing, and much of 
                  the writing to come. Others may feel a lack of melodic definition. 
                  Nevertheless this is a nuanced, flexible view very much at odds 
                  with, say, the Busch or, more recently, the Budapest or Fine 
                  Arts, to pick two others almost at random. The Presto that 
                  follows is very mellifluous – a hallmark of their playing – 
                  but in the rather washy acoustic their phrase endings rather 
                  slide away and aren’t clipped or defined. Their homogenous approach 
                  is again dextrous but one I find rather wan and lacking in drama 
                  and rhythmic impulse. It’s rather too dainty. 
                  
                  The Andante is well phrased, and once again homogeneity is the 
                  calling card, a real tonal blend, but there’s something too 
                  manicured about the Alla danza tedesca. It sounds as 
                  if it’s been rehearsed to death and the smoothing out tends 
                  to sap spontaneity. The Busch take a similar tempo but are in 
                  a different realm of expression. Vertavo take a vigorous tempo 
                  in the Cavatina where inner voice vibrato increases in 
                  accordance with the intense depth of expression, though it’s 
                  surely not nostalgia that leads me to note that the Busch and, 
                  in their different way, the Léner offer profoundly more moving 
                  performances at slower tempi. The finale is bright and energetic 
                  – I liked it best of all the movements. And the Grosse Fuge 
                  is both well paced and tenaciously played. Their organ-like 
                  unison at the start is certainly remarkable. 
                  
                  In many ways this is a laudable traversal; well prepared, and 
                  technically generally very sound. But it strikes me overall 
                  as over-nuanced. 
                  
                  Jonathan Woolf