Don Satz replies to Steve Schwartz regarding the Italiano Quartet:

>Overall, I'm skeptical of this group in the Ravel and particularly in
>their cycle of the Beethoven String Quartets on Philips.  The ensemble
>is well noted for its elegance and warmth, and I agree with those comments.
>However, I find them short on drive and energy when it's most needed.  In
>Beethoven, my view is that they make his music too 'user friendly'.

Interesting observation.  I'm in the process of comparing different
performances of the Beethoven Late Quartets.  Admittedly, I haven't
gotten very far.  The first and only recording I've had of the Late
Quartets has been with the Italian Quartet, so over the years, it has
become (for better or worse) my point of reference.  I recently obtained
op.  130 & 133 (Grosse Fugue) with the Linsdays (the most recent recording,
made in 2001), and the Borodin Quartet.  The Grosse Fugue by these two
groups has much more drive and vigor than the Italian Quartet.  They make
no apologies about the music, and jump into it head first.  I've found
that this music, which has perplexed me over the years, suddenly made
sense.  Unfortunately, I have yet to find the perfect recording of the
Grosse Fugue, as the Lindsay's recording sounds great, but they don't quite
have the technique to hold it all together, and the recorded sound of the
Borodin is unlistenable to me (apparently made with a bunch of microphones,
placed very closely to the instruments, and mixed to set the placement of
the instruments across the stage).  There are aspects of the Italiano's
performance of the Grosse Fugue that I do like, however:  (darn, I don't
have the score handy, because we're in the middle of moving, and it's
packed in a box!) when the tension lets up, about a third of the way
through the piece, and a serene section starts with the violin playing a
variation of the main 4-note theme.  The Italianio sounds serene and
relaxed here, letting the music unfold in a big arch, which I think is
appropriate, whereas the other two groups still hold onto the frantic
tempo.  Listening to the Italiano play this part reminds me of a late
Mahler Adagio (e.g.  last mvt.  9th), and strikes me as very beautiful.

Here are the times for the Grosse Fugue with these three groups:

Italiano: 18:53
Lindsays: 15:09
Borodin: 15:47

I also used to have Late Quartets with the Guarnari (on Philips), and
didn't like the interpretations, so ended up selling the CDs to a used
CD shop.  My main gripe was that they played the opening Fugue (Adagio)
of the op.  131 too fast, taking only about six minutes to go through the
whole movement.

Mike