As the note puts it, ''the Borodin Quartet is not four different instruments, it is one instrument with sixteen strings''. Quite so, and that is the biggest problem. In almost every dimension of interpretation, be it tempo, accent, tone-colour, rhythmic or dynamic nuance, the Borodin's Beethoven sounds too accommodating, lacking the inner stresses and strains (and reconciliations) which would make listening more than a passive registration of beautiful sounds.
With the first of their Beethoven recordings for Virgin Classics I tried, probably none too successfully, to understate my disappointment (August 1988). But I detect no improvement in this issue and would even question whether they appreciate the psychological dimensions in late Beethoven at all. In part it's the narrow dynamic range, the uniformity of stress, and the lack of response to harmonic tension which provoke that thought. The Heiliger Dankgesang is certainly effective in its non vibrato and the sentendo nuova forza is beautifully controlled; but the tone is consistently well-nourished and in the absence of visionary inwardness the harmonies just sound odd. Ditto the very upfront Musette in the previous movement and passages in the first movement, such as the beginning of the development, where inner dimensions are unfolded.
The generous acoustic of Forde Abbey in Chard, Somerset, does not help; indeed I think I was too tolerant of it in my review of the previous issue. The excess of ambience tends to iron out tonal distinctions, especially those dark colours which are in any case in short supply from the Borodin. But the C minor Quartet, placed second on the disc, confirms that this is not the root of the problem. Again flow is admirable (as are intonation and matching of timbres), but there is no appreciable resistance to the flow, with the result that everything is absorbed into an all-purpose neo-classical elegance. Take the last movement prestissimo coda out of context and you have an example of superbly co-ordinated quartet playing; but if it is inner vitality you are looking for, you will have to look to other ensembles. The idea of doing the second movement scherzo and the third movement minuetto at virtually the same pulse only adds to the impression of uniformity.'