Beethoven: String Quartets op.18
Lindsay String Quartet (Decca Eloquence)
(scroll down for English review)
年少時看英國的古典音樂雜誌，他們總會對蓮施四重奏的每個新錄音讚到天上有地下無，他們在2005年解散時更是同聲一哭。當年他們的錄音大多數在英國品牌ASV推出，該公司的錄音現已給環球古典買下。澳洲的Eloquence分支，最近用Decca的名義翻出他們的貝多芬及巴托全集，我便有機會去聽聽他們是否那麼了不起。這套貝多芬是他們的第一套貝多芬全集錄音（錄於1979-1983），我這次先聽早期的六首作品18弦樂四重奏。
音響質素不算高超，但勝在每支樂器都錄得夠近，音量反差亦夠大，最後這點我覺得尤為重要。其實也不需要熱身或習慣，一開始就已經是頂尖的演奏水準。雖然速度比我喜歡的慢，但連施四重奏對這套作品18四重奏的取態，我相信仍是以古典優雅為主調，即使貝多芬會佈下稜角，但只是一點刺激及調味，連施四重奏沒有企圖去衝擊或挑戰古典曲風的框架。
第一小提琴Peter Cropper的確是組合的靈魂，我最喜歡聽他的長音，很穩定純淨又沒有乾涸呆滯之感，在第一四重奏的第二樂章、以及第四四重奏的第一樂章是好例子。
先前說的音量反差，是因為他們四人即使沒有用刺激的速度及發音去演奏，但非常遵從樂譜的音量指示，分得出一級一級的音量，更不是見到pp、ff那一刻才會細聲及大聲，而是能夠維持到下一個指示為止。如是者，連施依書直說便能做出明顯的層次，毋須額外加鹽加醋。不只是音量，頓奏連奏之類的指示都是這樣。以今天追求逼力及炫技的口味來看，這種演奏恐怕會被人當老土了。
The ASV back catalogue is now absorbed into Universal Classics, therefore the recordings of the legendary Lindsay String Quartet are reissued under the insignia of Decca. This set of complete Beethoven was the Lindsays’ first recorded cycle made in 1979-1983, at this moment I’m going to focus on the op.18 set.
The sonic qualities weren’t top class but I appreciate the close-mikings, and the broad dynamic range that was so crucial to this interpretation. I didn’t need much time to warm to this performance, as the playing was truly of the highest standard. The tempi were slower than I’d like them, but I notice the Lindsays’ approach was that of classical elegance. They’d pinpoint Beethoven’s edges, but these were never rough edges under their hands. They didn’t mean to rock the classical framework of the op.18 set.
Peter Cropper (first violin) was truly the beacon of this ensemble and I especially like his sustained notes which were so stable without ever sounding static. Examples are the second movement of First Quartet, and the first movement of Fourth Quartet.
The dynamic range was reflected by the Lindsays’ impeccable terraced dynamics, as per the score. And they’d sustain the prescribed dynamic until they reached the next one. Thus they realized the score’s innate layers without forcing anything. And not just the dynamics, the articulation markings were likewise closely observed. In today’s tastes the Lindsays might be regarded as non-virtuosic or regressive but the listener should better be aware of the score’s demands before judging.