"I never thought I would apply this adjective to a classical recording, but somehow it perfectly describes the cultured detachment of these performances, especially the Op 51, No. 1 C Minor Quartet. There is not a note out of place, the phrasing is precise and musicianly, the execution of its architecture is flawless, but... the sum of the parts is bloodless.
It's not the recording I would have expected given their full blooded Beethoven cycle. In fact, the Brahms production has more in common with their Mendelssohn cycle than the Beethoven. Their Mendelssohn too, was beautiful, but leaning toward the beauty of a still life. There are other performances, in both the Mendelssohn and the Brahms, that better capture the pathos of the music. Compare Emerson's performance of the C Minor Quartet with that of the Alban Berg Quartet, a superior performance. What the Berg may lack in refinement and polish, only in comparison to the Emerson Quartet, they more than make up for in sheer vitality.
And that's the nub of it. The desire, impetuosity, fear, triumph and pathos is missing -- in short, youthfulness. I just read a review, in the New York Review of Books, of some new translations of Casanova's autobiography and one of his statements reminds me of the Emerson. Casanova wrote that throughout his thirties, his vigor faded. I can't help wondering if the same thing hasn't happened to the Emerson quartet. They are more polished than ever, but the vigor has faded. The sexual rush of the great music is missing.
"
The Piano Quintet becomes an instant classic--Fleisher is in
Santa Fe Listener | Santa Fe, NM USA | 05/08/2007
(5 out of 5 stars)
"One could say that this DG 2-CD set is unmissable even before the first track begins. At two-for-one price we get to hear the great Leon Fleisher, miraculously recovered from his decades-long muscle affliciton (thanks to neurology and botox) and now capable of performing Brhams's most difficult works. Fleisher is, along with Rudolf Serkin, the greatest Brahms player among Americans. Here he doesn't disappoint, in a reading of the Piano Quintet that's incredibly moving, full of mastery in every phrase.
At first I was worried that he wouldn't be a match for the strainless stel Emersons, but they adapt their style to his. In every way they are second to Fleisher's lead, and the microphone placement puts his every note front and center. Often that's a drawback, but here it's what I wanted to hear. The interpretation is more relaxed than the great one from Pollini and the Quartetto Italiano and more emotionally free than Gilels with the Amadeus Qt. (NOt to mention that the Emersons show more technical ability and polish than either ensemble.) Fleisher's touch isn't as rapid and scintillating as it was in youth, but he never drags or blurs the notes. He makes each movement one great expanse of song, and in my experience there has never been a performance to equal his. rahms's broad sweeps of lyric beauty simply take off.
Oh yes, and there are three string quartets in addition. I have never warmed to Brahms's quartet writing, much as I love his other chamber music. The Emersons play with their usual amazing unanimity, and they capture Brahms's full-scale romanticism without reserve. This isn't one of their attempts to redo a classic composer in modern style. As in the Quntet, DG's sonics are wonderful, giving us the best string sonority I've heard in a long time. I'll leave it to other reviewers to detail the individual performances here. For me, the glory of this set will always be Fleisher and his amazing autumnal rebirth."
A very fine digital recording of the quartets
M. Okada | Pasadena, CA United States | 06/24/2007
(4 out of 5 stars)
"Leon Fleisher and the Emerson Quartet had a chance to make a fabulous digital recording of the Brahms F minor Piano Quintet--but they blew it. Instead we get an okay performance that features an overly thoughtful interpretation and frustratingly slow tempos in some spots. This is not an autumnal work, and the attempt by the players to do it that way doesn't work for me. I am not a total fan of the Emerson quartet--I personally prefer the more urgent and less lyrical sound of the Juilliard or Tokyo Quartets. However there is some exceptional playing in the 3 Brahms Quartets. Given the low price and the scarcity of recordings of the Brahms Quartets, I would recommend this 2-disc set."
Too good
Raphael Rubin | Merion Station, PA USA | 08/10/2007
(4 out of 5 stars)
"The quartets are played at the height of virtuosity. However, like Heifetz, the perfection can leave one a bit chilly. The passion tends to be lost in the execution. Tempos are just too fast. That being said, the virtuosity is indeed remarkable."
Dynamic Duo #2
J. Grant | North Carolina, USA | 01/25/2008
(5 out of 5 stars)
"I loved all of Fleisher's recordings with George Szell in the 50's and early 60's before he became afflicted with dystonia. In particular, the Beethoven concertos (still the best stereo cycle of those works), the Grieg/Schumann concertos (still at or near the top), and the Brahms concertos (along with Gilels, the best pairing of those). Fleisher & Szell were quite a dynamic duo. Now over 40 years later comes the best stereo recording I've heard of the piano quintet (yes, I like it better than Pollini/Quartetto Italiano). As for the quartets, there are many fine recordings. I especially like the Verdi Quartett's Op. 51 set. The Alban Berg has a fine set of all three on 2 discs (but inexplicably no "filler"). But, this set by the Emerson's is as good as any I've heard, and probably better. When you add it all up, it's a no-brainer as to which set to get. Hopefully, this is the first of many collaborations between Fleisher and the Emerson Quartet (while he can still play at this level)."
Track Listings (8) - Disc #1
