The Kodaly Quartet show here their usual fine technical control, together with near-perfect balance and blend. This account of these two quartets from Op. 18 is given a clean, natural-sounding recording. All in all, you may think, a real bargain. Well, not quite. You could find, as I do, that their view of early Beethoven is rather too comfortable. In the matter of tempo, for instance, I notice that the Kodaly’s are, in the quicker movements, considerably slower than Beethoven’s admittedly challenging indications. In two cases, the Minuet of the A major, and the finale of the B flat, their tempo is only two thirds of Beethoven’s, and leads to a serious lack of ebullience. And I don’t think there’s enough variety of dynamic or tone-colour. In particular, the many pianissimos rarely sound quiet enough, nor do they inspire the players to produce a special tone – mysterious or ethereal – as the music demands.
Given their fine sound together, the Kodaly Quartet rarely come over as uninteresting, but I find there are only one or two movements – the finale of the A major Quartet, and the brilliant syncopated Scherzo of the B flat – that are really gripping. As an alternative you may consider investigating the Brandis Quartet; their (full-price) disc includes Op. 18 No. 4, as well as Nos. 5 and 6. The Brandis don’t quite achieve the polished sound of the Kodaly, but their range of tone is much wider, including some marvellous pianissimo playing, and in general their performances are much more dynamic and exciting.'