Comparisons with the magnificent Dover Quartet’s Beethoven set on Cedille Records are unavoidable. The Dovers are simply unmatched in Beethoven, bringing such freshness, insight and sheer enthusiasm to these masterpieces, it’s as if hearing them for the first time. I was surprised to hear how close the Calidore String Quartet comes to matching the exalted levels of excellence attained by the Dovers (at least in the Razumovskys). Their recorded sound, however, is not quite as exalted. It is very good in the Op 59s, though not as opulent as the Cedille for the Dovers. Unfortunately, it’s not quite as good in #10 and 11 on disc 3 (which I will explain when we get there).
Musically, the Calidore Quartet’s Beethoven is refreshingly straight-forward, musical, sweet, joyful and completely unfussy. If their dynamic range isn’t quite as striking as the Dovers, their playing is certainly an equal to many of today’s superb young string quartets in precision of ensemble, crisp articulation, singing expressive lines, sweetness of tone (especially the 1st violin), and detailed inner voices. Tempos are sensible, alert and energetic (though not as spectacularly vivacious as the Dovers) – other than Adagios, which are almost always a bit slower and less flowing (but not excessively so). The Calidores also tend to play more consistently with vibrato, rather than thinning it to none at all, which is becoming customary these days. (The Dovers do it a lot, as do many others.) There is plenty of variety in their speed and intensity of vibrato, along with nuance and variety in expression and tone colors. And I actually enjoyed it more than when vibrato is eliminated altogether for dramatic effect. The Calidores are slightly more traditional in this regard, I suppose (with never a need to call attention to it), but there is no denying their enduring sweetness of tone. I love the sound of this string quartet. In fact, they actually remind me more of the Pacifica Quartet (another one of my favorite American string quartets) than the Dovers.
Beginning with Opus 59 #1, the 1st movement is warm and singing, with excellent dynamics and articulation – yet simple and natural, in a pastorale way. Special mention must be made of the sweet, singing tone from 1st violinist Jeffrey Myers. This is surely one of Beethoven’s most smiling creations, and the Calidores relish it. The 2nd movement is effervescent and joyful, with the scherzando element perfectly demonstrated. The Adagio is perhaps a tad slow, but in the final Allegro, their dynamics and articulation are again most impressive.
With #2, we hear inner details more fully revealed – perhaps in part because of the airier, slightly more transparent sound (which, though subtle, is in every way beneficial). And it is the viola which asserts itself with authority, revealing many important inner lines in the 1st movement which often go by without much notice. There is also a fullness of harmonic progression, especially in faster passages, highlighting the chordal structure in the writing which is most enlightening. Again, this often comes from the prominence of the viola (with a wonderful richness of tone from Jeremy Berry).
The Allegretto is vigorous without being gruff, while the final Presto is as happy and sweetly singing as it is propulsive and crisply articulated. The interplay between 1st violin and viola is especially delightful and engaging. This is simply some of the most joyful Beethoven one could hope for.
In #3, beginning in the 1st movement, we hear the 2nd violin gain importance in Beethoven’s writing, becoming a real equal to the 1st. And in the 3rd movement, adeptly dueting with the 1st violin here and the viola there – at all times their equal. This is absolutely marvelous chamber music, and absolutely marvelous chamber music playing, with superb contributions from 2nd violinist Ryan Meehan. The final movement is appropriately vigorous and invigorating – dramatic and very exciting – without ever becoming forced or aggressive. The group knows their limits, and never tries to overplay their fortissimos.
The “Harp” (#10) is, once again, sweet and simple. And I again notice (and enjoy) that their vibrato is minimized rather than completely eliminated. And I actually like it this way a lot. The variety of tone and expression is there, but so is the sweetness. Too often there is a thin, icy quality when vibrato is ruthlessly eliminated. And I like the way the Calidores play this.
I also noticed dynamics are a bit more pronounced, and so too is a bit of coarseness to the string texture that I hadn’t noticed in the Razumovskys. And I soon realize the microphones seem a bit closer to the musicians, providing a more upfront perspective than before. The dry acoustic is revealed more clearly as well. (I hadn’t even noticed it being particularly “dry” before, but it is very obvious now.) The recorded sound is still clean (and never harsh) but not quite as alluring. (The booklet reveals it was recorded several months earlier than the rest.) But it’s not serious, for the sweetness of sound in their playing remains. The closer scrutiny of the players also tends to emphasize their textured, wooden tone (sometimes helpfully, others not so much), and highlights the husky presence of the viola that I noted earlier, which again sounds simply glorious.
After the slow introduction of the 1st movement, I am pleased the Allegro isn’t rushed off its feet, but the Adagio is again too slow for my liking. (It is marked ma non troppo – “but not too much” – which the Dovers demonstrate exactly how and why that is musically important.) The Presto is certainly vigorous, but the closeness of the microphones here is somewhat detrimental, lending a gritty texture which can become distracting above mf. The final Variations go by uneventfully, and I come away thinking this performance, though good, isn’t quite up to the exalted level of the Razumovskys.
Nor is the “Serioso” (#11). The opening Allegro con brio could ideally use more brio (although the cello certainly brings the gusto), and the Allegretto more seriously could (should) have moved at a quicker tempo. This feels more like Andante (at best), but does provide a more striking contrast to the 3rd movement’s Allegro vivace, which certainly moves. But here again I really wish there was a touch more air and spaciousness to the acoustic. The final Allegretto agitato is played with a touch of delicacy and seems a little less agitato than often heard. But I liked it very much. And it leads effortlessly to the final sprint at the end, where the Allegro is taken at an exhilarating presto – gossamer and very exciting. Overall, this reading is pleasing in a rather relaxed, appropriately “serioso” way.
If not as fresh, invigorating or downright riveting as the Dover Quartet is in these works (nor are they as well recorded), there is a splendid consistency to the playing of the Calidore Quartet which makes this set of 5 quartets enjoyable and rewarding. And I really like that the production presents them in chronological order (though the booklet reveals they weren’t recorded in that order). I look forward to the final volume of the early quartets, coming in January 2025, as I believe producer and sound engineer, Judith Sherman, is getting better at this as the sessions progress. I would expect all the wonderful musical qualities to continue in the Opus 18s, along with further improved recorded sound, which should make for a wonderful combination.
