ASV’s boxy and claustrophobic recording presents the Lindsays at an unflatteringly close perspective, revealing all too well their occasionally imprecise intonation and crude instrumental tone. The opening of Op. 59 No. 1, which sounds as if it were recorded from inside the cello, proceeds in a coarse manner with choppy phrasing (note the clumsy ritard at the end of the first phrase) that belies the elegance of the musical material. The finale is even worse in this regard, as the players seem to struggle to maintain a consistent timbre.
Op. 59 No. 3 gets off to a better start as the Lindsays play with greater energy and more flowing tempos. Indeed, the first movement is quite enjoyable, as is the Andante, where the quartet offers some beautifully balanced ensemble. However with the menuetto tempos begin to flag, and by the finale that familiar heaviness has begun to creep in as the Lindsays return to their roughhousing–you know, that ugly, gruff style that some performers like to associate with Beethoven’s musical personality. Turning to the performances by the Prazak Quartet is like stepping out of a jalopy into a Mercedes: here you’ll find beauty, refinement, and tremendous power on demand. The same goes for the Emerson Quartet’s renditions, even if they’re a little too insistent on Beethoven’s exceptionally fast metronome markings. Truth is, there’s many a better choice than the Lindsays for these marvelous Razumovsky quartets.
