Beethoven- String Quartets Op. 59 Nos. 2 and 3 "Rasumovsky"

Product Description Quartetto Italiano Review PentaTone has a history of cherry-picking items from old quad Philips cycles without reissuing every recording in the original series (possibly, in some cases, because the whole series was not recorded quadraphonically). So it's heartening to see that the label has at least brought out the Italiano Quartet's full traversal of Beethoven's "Razumovsky" quartets. An earlier disc, which I reviewed in Fanfare 32:5, coupled op. 59/1 with the last of Beethoven's op. 18 works. What I wrote about that release holds true for this one: "The readings are poised and flowing, sensitive to a variety of articulation, attacks, and details of dynamics, but not as hyperdramatic as many more recent efforts. Without underplaying the scores, Quartetto Italiano provides interpretations that should be very appealing to listeners who find even the finest contemporary efforts (Emerson, Prazák) to be excessively intense and nervous." With flexible phrasing, lucid voicings (listen to the clarity of the lines in the finale of op. 59/2), and unfailing warmth (hear the full tone and weight of that Quartet's Allegretto, offset by crisp attacks), these polished, incisive performances remain attractive more than 35 years after they were recorded. This four-channel reissue presents the musicians on a wide stage from close perspective. Dare we hope that PentaTone will at least complete the Italiano's middle-quartet series, even if not committing to the entire cycle? -- Fanfare, James Reel , Jan-Feb 2010 This is an SACD remastering of the recording made in 1973 for Philips. In its day the Quartetto Italiano was very highly regarded, and I vividly recall hearing them in a concert in Fiesole that began around 10:30 PM. The program consisted of Beethoven's first and last quartets, both in F, separated by an intermission that must have lasted 45 minutes. When it was over around midnight I somehow found a bus back to Florence. Since the 1970s we have seen numerous Beethoven recordings that are musically distinguished and technically brilliant. These may equal the Italians, but to my mind none really surpass their achievement, either in technique or the depth of their musicality. The Italians play with a warm, rich sound that acknowledges Beethoven's drama without becoming harsh. Their tempos are brisk, but never flashy, since technical display is