Beethoven String Quartet Op. 130; Grosse Fuge
View record and artist detailsRecord and Artist Details
Composer or Director: Ludwig van Beethoven
Label: Capriccio
Magazine Review Date: 11/1999
Media Format: CD or Download
Media Runtime: 53
Mastering:
DDD
Catalogue Number: 10 851
Tracks:
| Composition | Artist Credit |
|---|---|
| String Quartet No. 13 |
Ludwig van Beethoven, Composer
Ludwig van Beethoven, Composer Petersen Qt |
| Grosse Fuge |
Ludwig van Beethoven, Composer
Ludwig van Beethoven, Composer Petersen Qt |
Author:
Even from the first movement’s opening bars, you sense you are in line for an exceptional Op. 130. The dramatic switch from mysterious Adagio, ma non troppo to flamboyant Allegro sets the mood and thereafter Beethoven’s constantly oscillating arguments between bold assertion and inward reflection make their full impact. This is a strong, no-holds-barred performance, complete with important first-movement repeat (not every quartet’s choice) and with the Grosse Fuge in its rightful place as the Quartet’s finale. The heart-rending cello line that sits near the start of the development section (7'31'') is especially poignant.
The Presto second movement is breathless and snappy, and the third wafts in at the edge of a sigh that seems to regretfully acknowledge a mighty confrontation in the offing. Beethoven’s lightweight, last-ditch finale allegro is tacked on as a sort of encore and the Petersen invests it with plenty of spirit. But to my mind it is no fit summation for a work that is constantly leading us to a destination that it never actually reaches – unless the Grosse Fuge is played as its denouement.
The Alla danza tedesca fourth movement is comely and charming, with tiny spots of rubato that never sound out of place. As to the Cavatina, I initially wondered whether the pace was a little too swift for an Adagio, but soon got used to it. Indeed, the sense of forward momentum that the Petersen achieves lends further credence to its choice of finale. That unforgettable moment at 3'13'', where the leader’s line disintegrates into tear-choked sobs, makes its full effect. The Fuge itself is mercilessly insistent, with powerful inner sparring from violist Freidemann Weigle and plenty of tonal weight elsewhere.
As to rivals, the best by far is from the rather mellower Juilliard Quartet, whose considerable roster of virtues include – like the Petersen – the first-movement repeat and the Grosse Fuge as finale. I wrote at the time that the Juilliard offered ‘profound, deeply pondered music-making, the sort that would be impossible to achieve in less than half a lifetime.’ That claim still stands, and the presence of a fine reading of Op. 135 is a substantial bonus (Capriccio offers no extra fill-up), but anyone collecting the Petersen’s superb Beethoven series can rest assured that high standards are fully maintained and the recorded sound is excellent.'
The Presto second movement is breathless and snappy, and the third wafts in at the edge of a sigh that seems to regretfully acknowledge a mighty confrontation in the offing. Beethoven’s lightweight, last-ditch finale allegro is tacked on as a sort of encore and the Petersen invests it with plenty of spirit. But to my mind it is no fit summation for a work that is constantly leading us to a destination that it never actually reaches – unless the Grosse Fuge is played as its denouement.
The Alla danza tedesca fourth movement is comely and charming, with tiny spots of rubato that never sound out of place. As to the Cavatina, I initially wondered whether the pace was a little too swift for an Adagio, but soon got used to it. Indeed, the sense of forward momentum that the Petersen achieves lends further credence to its choice of finale. That unforgettable moment at 3'13'', where the leader’s line disintegrates into tear-choked sobs, makes its full effect. The Fuge itself is mercilessly insistent, with powerful inner sparring from violist Freidemann Weigle and plenty of tonal weight elsewhere.
As to rivals, the best by far is from the rather mellower Juilliard Quartet, whose considerable roster of virtues include – like the Petersen – the first-movement repeat and the Grosse Fuge as finale. I wrote at the time that the Juilliard offered ‘profound, deeply pondered music-making, the sort that would be impossible to achieve in less than half a lifetime.’ That claim still stands, and the presence of a fine reading of Op. 135 is a substantial bonus (Capriccio offers no extra fill-up), but anyone collecting the Petersen’s superb Beethoven series can rest assured that high standards are fully maintained and the recorded sound is excellent.'
Beethoven String Quartet Op. 130; Grosse Fuge
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