In the late 1970s the artists-formerly-known-as the Lindsay Quartet recorded their first Beethoven cycle for ASV. Two decades later The Lindsays (same lineup but with violist Robin Ireland) begin anew with the first three quartets comprising Op. 18. Just as ASV’s sonics have gained in focus and detail, so have the foursome’s interpretations, particularly evidenced in a greater attentiveness to Beethoven’s carefully calibrated dynamics and stinging accents. Notably, the rapid outer movements boast breathtaking drive and brio, yet often at the expense of tonal finesse, melodic cogency, and elegant phrasing.
In concert, for instance, first violinist Peter Crooper’s approximate intonation in the G major quartet’s dazzling, Haydnesque finale would not concern an audience caught up in the heat of the Lindsays’ breakneck tempo. On a recording, however, the movement sounds crassly driven compared to the offhanded wit I infer from the finer-grained ensemble values exhibited by the Vegh, Alban Berg, and Talich Quartets, among Op. 18’s top exponents on disc. It’s true that the Lindsays’ abrasive, almost monochromatic sonorities suit Beethoven’s confrontational aesthetic, but the aforementioned reference versions surpass the British ensemble for sheer color and lyric beauty. The bottom line: other groups simply play better, and enthusiasm need not entail such severe sacrifices in terms of tone quality, intonation, ensemble balance, and finesse.
