Chandos Beethoven

This set of Beethoven string quartets by the Borodin Quartet reflects a mature perspective on the works. It's not that it lacks energy the Vivaces are vivacious and the Allegros have plenty of brio but it has wisdom and a maturity not generally characteristic of performances by younger quartets. These performances are comparable with the Budapest Quartet's last set of the quartets.

Still at it and still pretty good at it even if not as good at it as it used to be, the Borodin Quartet continues to record with only cellist Valentin Berlinsky still on hand from the Borodin Quartet of the '60s. With a powerful attack and an expressive tone, the new Borodin Quartet is a fine ensemble. But although the attack is powerful, it's not the old Borodin's attack. The angle of attack is different, the point is different, the moment is different.

The third volume of the Borodin Quartet's long-awaited digital set of Beethoven's cycle presents one bold work from the end of the middle period, the String Quartet in F minor, Op. 95; the deeply moving late masterpiece, the String Quartet in C sharp minor, Op. 131; and the sui generis Grosse Fuge in B flat major, Op. 133, which is treated here as a quartet in its own right.

The wisdom of experience and the infirmities of age lie perhaps too heavy on the Borodin Quartet's set of Beethoven's early quartets. There is no denying that the Borodin know exactly what to do with the music. Their balances are exemplary, their tempos are ideal, and their phrasing is supremely expressive. And there is no denying that the Borodin love deeply every note of the music.

This recording of Beethoven's 33 Variations on a Waltz by Diabelli in C major, Op. 120, by British pianist Imogen Cooper was a strong seller when it appeared in March 2019, and there appear to be several reasons why. One is the introduction of the program with the Bagatelles, Op. 119, which are not so often heard and make a fine lead-in. Cooper almost runs the bagatelles together, which one might question: each one is a distinct entity, and playing them as Cooper does loses the strangeness of, say, the 15-second Allegramente bagatelle. But Cooper seems to be asserting the unity of the set, which is reasonable even though Beethoven wrote the works at different times; some are early works, and some were newly composed for publication in 1822.

This important release follows Hickox and Collegium Musicum 90's award-winning recordings of the Masses of Haydn and Hummel. It continues the Esterházy theme since Beethoven's Mass in C succeeded ones commissioned by the prince from Haydn and Hummel. There are few recordings of this repertoire on period instruments, and with the addition of the two rare cantatas, this CD is especially important.