Beethoven: String Quartet No. 2 in G major, Op. 18 No. 2

“In almost every respect they offer extremely dynamic and incisive playing in excellent sound. One really senses the tangible feeling of excitement [in the introduction to 59/3]...There's much to admire, too, in their rendition of Op. 18 No. 2” BBC Music Magazine, June 2010 ****

“…this new Tokyo set just about pips all rivals to the post. The reason is primarily one of balance, not only within the group itself but also in terms of overall musical judgement - whether relating to tempo, dynamics or emphases, or simply the way the players combine a sense of classical style with an appreciation of Beethoven's startling originality.” Gramophone Magazine, February 2008

“this release makes one look forward to the Tokyo's completion of what is, so far, a formidable traversal.” International Record Review

“Enjoyable as other digital recordings of Beethoven's first quartets by (for example) the Takács and Lindsay Quartets are, this new Tokyo set just about pips all rivals to the post.
The reason is primarily one of balance, not only within the group itself but also in terms of overall musical judgement – whether relating to tempo, dynamics or emphases, or simply the way the players combine a sense of classical style with an appreciation of Beethoven's startling originality. Even as early as No 1's pensive opening, you notice how skilfully rests are being gauged, contrasts in colour and inflection, too: the way the clipped first motif leads into its sweetly imploring extension a couple of bars later. The Scherzo's skipping gait, incisive but lightly dispatched, is another source of pleasure, and so is the seemingly effortless swirl of the closing Allegro. The old quartet cliché about 'leaning together' is here a principal attribute.
At times it could be just one person playing.
The qualifying ma non tanto of the C minor's opening Allegro is pointedly observed: dramatic impact is sustained while composure is maintained.
The crispness of the Andante scherzoso and the cannily calculated crescendi at the start of the finale is oustanding. Few ensembles have characterised the A major's cantering first idea as happily as the Tokyos do here, while the ethereal and texturally variegated middle movements anticipate the very different world of Beethoven's 'late' quartets. Beautifully blended recordings, too: if you're after a top-ranking digital set of Op 18, you couldn't do better.” Gramophone Classical Music Guide, 2010

“The Tokyo Quartet here produce a sumptuous, beautifully blended sonority and perform with outstanding music insight, unanimity and polish.” The Strad, February 2008

“Robert Simpson disagreed with writers who believed that Beethoven's backward glances to Haydn and Mozart in his Op 18 set were so obvious as to distract attention from his own individuality. The Takács disagree, too. They concede the tradition, but those glances are far from obvious. From the beginning this is Beethoven through and through. The opening bars of Op 18 No 1 are soft yet terse. The answering calls are conciliatory, but the suspense is palpable.
And, in a trenchant Allegro con brio, every sforzando is used to raise the tension, especially in the development. There are no concessions to surface beauty, and the message isn't subdued.
The Takács are particular about dynamics. The fortissimo chord near the finish of the slow movement is startling, and the build up from pianissimo is as impressive as the drop back to the end. The Adagio, though directed to be both impassioned and tender, tends to be fervent, while fine inflections to the line ensure that the fairly swift tempo doesn't appear hurried. Conversely, the Adagioma non troppo of No 6 is compassionately slow, but continuously mobile: these musicians don't overlay textures with fatty tissue. Despite wide separation, ensemble is always close-knit. Just how close may be appreciated in the Scherzos, which are tight and cohesive. That of No 4 has, in addition, precise give and take between the contrapuntal lines. The Takács play them in a way that leads the ear on without ignoring the expressive demands of the unusual marking Andantescherzoso quasi Allegretto.” Gramophone Classical Music Guide, 2010

“It’s been well worth the wait for these performances. Restoration has done what it can for the boxy originals, but the energy and drive of the playing will make up for that.” MusicWeb International, March 2012