![]() ![]() The mood shifts with the move to a minor key and unexpected accents and silences. The second movement is in E ♭ major and starts with the first violin playing a lyrical melody in 2Ĥ time. This time around the second theme stays in B♭. ![]() It then shifts to D major and on to G minor and eventually returns to F major before shifting to B♭ for the recapitulation. After a repeat of the first and second themes, the development section starts in F major. Then the piece modulates to the dominant of F major and then F minor for the second theme. After a little bit of back and forth, the second violin takes over the conversation from the cello. The first theme starts in B♭ with a conversation between the first violin and the cello. La Malinconia: Adagio – Allegretto quasi Allegro. ![]() Decca's sound is huge, which may not be the best thing for a chamber music recording.Problems playing these files? See media help. 18, if you have already heard all these, try the Takács Quartet. ![]() For more individualistic but nevertheless completely compelling interpretations, try the Vegh Quartet. For more deeply introspective interpretations, try the Alban Berg Quartet. For more profoundly beautiful performances, try the Quartetto Italiano. For the Takács Quartet, Beethoven's first set of string quartets from 1799 - 1800 is grand, dramatic, and almost heroic. Its interpretations are not so much thoughtful but impetuous. Its rhythm is not so much graceful as driven. Its tone is not so much beautiful as muscular. The Takács plays with accuracy, strength, and enthusiasm, if not much subtlety, nuance, or lyricism. Vigorous and expressive but not especially sentimental and clearly in favor of direct rather than sober reflection, the Takács Quartet's 2003 recording of Beethoven's String Quartets, Op. ![]()
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