A pair of forceful chords, then a rest, a typically twisting theme, another rest, the theme transposed—and we're launched on one of Beethoven's most striking expositions. There are surprises at virtually every juncture and a cumulative impact that is typical of the composer's 'middle' period. The Cleveland Quartet generously treat us to both first movement repeats of the E minor Quartet, which clocks up a handsome movement timing of 13'32''. Of the alternatives sampled, only the Juilliard (Sony Classical (CD) M3K37869) and Lindsay take the same option, although their readings are somewhat freer, less uptight. The Cleveland's performance is urgent, forthright and swift, with well-articulated phrasing and a comforting respect for Beethoven's dynamic markings. I liked their crisp delivery of the Theme russe of the Allegretto (the one Mussorgsky uses in the Boris Godunov Coronation scene) and their brisk, galloping account of the closing Presto. They are also adept at sustaining the Molto Adagio's long-breathed lines, both as a group and as individual voices.
In the C major Quartet, I sensed an even keener response to dynamic contrasts, though the second movement is just a fraction unsteady (hinted rubato doesn't quite work), and the finale more a heady Presto than a powerful Allegro molto. It is a muscular display, well organized, beautifully recorded and generally recommendable. But comparisons are typically revealing. The underrated Vermeer Quartet, whose complete nine-disc cycle is now available at budget price, is far more expressive in the C major's Andante con moto quasi Allegretto; the Tokyo and Juilliard more prone to underline contrasts in shade and colour, and the Vegh on Auvidis—elderly-sounding though they sometimes are (both sonically and stylistically)—somehow reach further between the notes, ever mindful that for all his craftsmanship and sense of form, Beethoven was primarily a musical adventurer. Theirs are, for me at least, the most penetrating stereo performances available, with the stockier, stereophonically positioned Budapest in close second place.'