Concert 5. Wednesday 20 February 2013 8pm PDF Print E-mail




Beethoven String Quartet in D op. 18 no. 3

String Quartet in F minor op. 95


String Quartet B flat op. 130

with original Grosse Fuge finale op. 133


Quartets from Beethoven's early, middle and late periods will help us to appreciate the extraordinary innovations he brought to musical style. 


Haydn and Mozart are not far away in the op.18

quartet (1798). In his shortest quartet op. 95 (1810) Beethoven develops ideas with extraordinary terseness.


In the last two years of his life he devoted his energy and genius to a new vision of the string quartet. Op. 130 (1825) with its original finale is one of the results, with its moments of great abandon, ecstasy, grief, pain, joy and tenderness.


We are fortunate to hear the acclaimed Elias Quartet. Share their insights via a fascinating interactive website




"These are highly sensitive, touching performances ... Nobody who buys this new disc is likely to regret it."

GRAMOPHONE (Editor´s choice)


"The Elias is the best young quartet I've come

across in years ..." SUNDAY TIMES







Spellbinding Playing at the King's Hall Ilkley


The young players of the Elias Quartet are currently engaged in playing a complete cycle of the Beethoven string quartets in a number of major cities. We were given a mighty sample in their Ilkley concert; at first sight a rather demanding programme of early, middle and late period quartets. But such was the commitment of the playing that what we experienced was exhilarating, sometimes moving and always hugely satisfying.


This is not a 'period' group and the players took full advantage of the opportunity to project the music with powerful tone and generous use of vibrato and occasional expressive use portamento (slides between notes). The unanimity of their approach was remarkable. Beethoven's scores are liberally marked with accents and other dynamics and none of these were missed. If occasionally I wondered if this was overdone, checking the score showed me that this was always precisely what the composer had asked for.


Their opening op.18 no.3 quartet immediately captured our attention, the playing was graceful yet so alive, the perpetuum mobile finale deftly played with a sense of fun at the end. Humour is in short supply for most of the op. 95 'serioso' quartet which was given a powerful reading with ferocious attack at the start. The rare truly relaxed moments were expressively played and the sudden brightening of mood at the end totally convincing.


After the interval came the op.130 Quartet, in many ways Beethoven's most experimental quartet. The opening was eloquently played, the music's shifting moods so well caught. The ensuing divertimento-like movements were all strongly characterized. Throughout the concert their dynamic range had been huge and in the Cavatina the hushed pianissimo was heart-stopping.


Owing to their agent's error the advertised Great Fugue was not played, instead we were given the alternative less challenging finale to round off a wonderful evening. The players invited us to go online to www.The Beethoven Project to view a live performance of the original finale. I did so – it's terrific.



The following recordings were recommended in the programme.


Beethoven String Quartets

There are many superb, critically acclaimed recordings of these works, and my personal choice includes two complete cycles and individual discs for the separate Quartets.


My first choice is a 10 CD set of the complete Quartets, Quintets and Fragments from the Endellion String Quartet on Warner Classics 2564 69471-3 (10 CDs for the cost of 3 medium price discs). These are superbly involved performances with excellent recording quality.


A good budget alternative is provided by the Alban Berg Quartet on EMI 7 04413 2 (7 discs for the price of 1 full price CD). The playing is more straightforward than the Endellions and the sound quality is very good.


Recommendations for the individual works are as follows:

Op. 18, No.3

The Takács Quartet on Decca 470 848 2 (2 mid price CDs including all the Op.18 Quartets) provide very thoughtful performances in impressive sound.


Op. 95

Beautiful performances of Op. 74 and Op.95 in excellent sound are given by the Tokyo String Quartet on Harmonia Mundi HMU 807460 (1 SACD disc playable on all players at full price).


Op. 130 & 133

The Lindsays on ASV CDDCA 1117 (medium price) give a typically impassioned performance in excellent sound. The Grosse Fuge is especially powerful and gritty.


Raymond Waud.




As concert organisers we are feeling very proud that we booked this recital. At that time Sarah was well known and well-thought of, but in the past year she has become really hot property. Her immediate schedule is filled with operas at English National Opera and Glyndebourne, Oratorio with Rattle and Berlin Philharmonic and several recitals at the Wigmore Hall, some with Martineau. Amongst these stellar venues we find Ilkley Concert Club!


Because of her high profile, and starting as early as last August, we have had an unprecedented number of requests for returned tickets. Our Hon. Secretary Josephine Wesley, persuaded us to invite Sarah to Ilkley. She goes to many concerts and song recitals and tells me that she has "strings of friends and acquaintances wanting tickets" for the Connolly/Martineau concert.


Of course we hope that you, our Members, will all be able to come and use your Season Tickets, but just in case you can't please be aware that there are plenty of people falling over themselves to buy "returns" for this recital. No need to return the ticket(s) – just contact Jennie Rundle (01943 607488) or email This e-mail address is being protected from spambots. You need JavaScript enabled to view it to let her know your name and which seat(s) will be available. If we resell your ticket(s) you can claim a refund too.



Our CD sales are increasing. We urgently need someone to assist with the organisation of the CD stall in the Winter Garden. This amounts to both physical help on concert days and 'understudying' Tony Hudson so that you could take over if he was not available. The only real requirements are an interest in music on CD, a desire to take money off members on the evening (!) and a keenness to help the Concert Club. If you would like to help, or would like to know more, please ring Tony Hudson on 01943 430798.



If you noticed the change from the usual way in which the curtains, lighting and staging were arranged, I would appreciate hearing your comments – phone 01943 604178 or email This e-mail address is being protected from spambots. You need JavaScript enabled to view it .