The Guarneri Quartet are one of the most admired ensembles at present before the public and let me say straight away that these well-recorded performances are faithful and unidiosyncratic. With them they complete their survey of the late Beethoven quartets for Philips, adding for good measure the F minor, Op. 95. As in their earlier issues in the series, the playing as such is impeccable, and distinguished by fine well-blended ensemble, unanimity of attack and tonal finesse. I thought their Opp. 127 and 135 (Philips (CD) 420 926-2PH, 5/88) superbly played and while not wanting to convey the impression that they were shallow, was left in no doubt that there were others that ''plumb greater depths''.
Stephen Johnson and David Fanning to whom subsequent issues went, did not respond with much greater enthusiasm. The latter spoke of one of their performances hinging on ''whether the meaning is all on the surface, spelt out in capitals, or alternatively floated on an ocean of unfathomable experience. If chamber music is largely a matter of listening to fellow-musicians, later Beethoven is surely about listening to a transcendent voice as well''. Well, there is little sense of any transcendent voice here! Not that there is much with which I would want to quarrel: tempos are on the whole well judged and tonal beauty does not draw attention to itself. But I was never drawn into this music, never brought into its presence in the way that the Talich (Calliope/Harmonia Mundi), the Vegh (Auvidis Valois) and the Lindsay (ASV) all succeed in doing.
The Philips recording is, as it invariably is in chamber music repertoire, altogether excellent so that admirers of the Guarneri need not hesitate. Others should be gently steered in the direction of rivals: the Talich and the Vegh couple Op. 132 with Op. 135, and the claims of the Quartetto Italiano also on Philips, and mid price, should not be overlooked.'