Beethoven: String Quartet No. 7 in F major, Op. 59 No. 1 'Rasumovsky No. 1'

“Fine, bright tuning, a platinum-tipped first violin, minutely nuanced dynamics - you can hear it all, in the music of the spheres of the second quartet's second movement; in the harmonic suspense of the third quartet - and in that father of fugal finales - the last movement of the C major quartet, Op 59 No 3.” Hilary Finch, CD Review

"If the Tokyo String Quartet isn't the world's greatest chamber music ensemble, it's hard to imagine which group is." The Washington Post"

“Playing on the celebrated set of Strads collected by Paganini and previously used by the Cleveland Quartet, the Tokyo produce a splendid collective sound. The performances, polished and thoughtful, provide many insights into the inexhaustible world of Beethoven's imagination.” Gramophone Magazine, February 2006

“The Takács do a fine job here: controlled, well paced and impeccably balanced.
They manage to balance the music's vertical and horizontal aspects beautifully, long-breathed contrapuntal lines gliding serenely above a sharp, occasionally dramatic accompaniment – masterful playing indeed and typical of this first lap of the Takács' projected Beethoven cycle.
The Takács hold both line and rhythm in Op 59 No 1 with imposing control. Their manner of badinage in the mischievously hocketing second movement is more intense than the rival account by The Lindsays, and their tempos consistently swifter. In Op 59 No 3 the Takács approximate the Busch in a broad, soulful Andante con moto. And in the fugal finale they're almost on a par with the Emersons, whose demonic DG account is one of the most viscerally exciting quartet recordings around. The finale of Op 59 No 2 is a tautly braced canter whereas in the Scherzo of the Harp, Op 74, taken at a hair-raising lick, the Takács make obsessive music of the dominating four-note idea – and there's absolutely no let up in tension for the cello-led trio. Indeed, the Takács' Harp is one of the finest ever recorded, with fiery reportage of the first movement's central development and a delightfully playful account of the finale, the 'tipsy' first variation especially.
The jewel, then, is Op 59 No 2, though you'd be hard pressed to find a rival digital set of Opp 59 and 74 that's better overall. Andrew Keener's recording (St George's, Bristol) reports a realistic 'edge' within a sympathetic acoustic. You won't find a finer quartet recording anywhere.” Gramophone Classical Music Guide, 2010

“In all three works in their warmly recorded debut disc they offer playing that combines technical perfection with excpetional maturity and musical insight. Particularly admirable is their performance of the Beethoven F major Razumovsky Quartet...Every interpretative nuance has been carefully honed, yet the playing really does penetrate the multi-faceted character of the outer movements and brings great depth of expression to the Adagio molto.” BBC Music Magazine, July 2012 *****

“one registers a conscious effort to reinforce the importance of warmth, blend and polish. The spacious recording is entirely in keeping with these old-school priorities. Focus and refinement may slip a little in the face of the implosive ferocity of the Seventh's finale but there is little to criticise and much to admire. The inviting, singing tone of the Beethoven is yet more striking” Gramophone Magazine, June 2012

“In a crowded field, this new version stands its ground. Tempi tend to be swifter than some, and when it comes to capturing the intensity of creation of Beethoven's extraordinary triptych, the Kuijken Quartet are often compelling. In the Adagio mesto of Op 59 No 1, for instance, they find an almost Shostakovichian bleakness to its opening and their sense of focus is unfailing.” Gramophone Magazine, September 2011

“their unadorned verve and clarity reflect a background in period performance, which has its own appeal. They use "modern" instruments but the bowing is light and the vibrato discreet” The Observer, 1st May 2011