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The renowned Takács Quartet, now in its forty-third season, has undergone substantial changes of personnel since its founding in Budapest in 1975. Originally consisting of Gabor Takács-Nagy, Károly Schranz, Gabor Ormai, and András Fejér, the Takács Quartet now includes only cellist András Fejér from the original four. Second violinist Károly Schranz retired last April and has been replaced by Harumi Rhodes. Earlier replacements brought in Edward Dusinberre as first violinist and Geraldine Walther as violist. Over the years, the Takács Quartet has maintained consistently high standards and has received numerous awards and prizes. In 2012 Gramophone magazine announced that the Takács was the only string quartet to be inducted into its first Hall of Fame, along with such legendary artists as Jascha Heifitz, Leonard Bernstein, and Dame Janet Baker.  

On Sunday, February 24, the Takács Quartet performed the first of two successive weekend concerts at Hertz Hall. The program for this first concert, which I attended, included works by Haydn, Bartók, and Grieg. Next Sunday’s concert will consist of another Haydn quartet, the Mendelssohn Quartet, and another Bartók Quartet. If you love the string quartet repertoire and want to hear one of the worlds finest string ensembles going, make it a point to attend next Sunday’s concert at 3:00 pm at Hertz Hall. You will not be disappointed. 

For the February 24 concert, the opening work was Franz Joseph Haydn’s String Quartet in D Major, Op. 20, No. 4. Often cited as the most popular of Haydn’s groundbreaking six Op. 20 quartets, the D Major involves all four principals as soloists, highlighting each instrument and its tonality in turn. It opens quietly with a soft passage heard in the cello, soon joined by the first violin, then by all four instruments. Soon the music becomes agitated, even querulous. By the end of this first movement, tranquility returns. In the second movement we are treated to a set of variations, highlighted by a rich melody for cello, here beautifully played by András Fejér. Each and every time I hear the Takács perform, I am struck by the burnished tonality and sheer musicianship of cellist András Fejér. He is truly wonderful! Following this cello solo Haydn treats us to a sensuous variation for first violin, here gorgeously performed by Edward Dusinberre. Once all four instruments have had their go at a variation, Haydn offers us a Minuet, Allegretto alla zingarese, in other words, a gypsy-style movement full of “out of-step” rhythms. The finale abounds in humor, “wrong chords,” and whirling energy, until, at the end, everything slows down for an unexpectedly serene close. 

Next on the February 24 program was Bela Bartók’s String Quartet No. 1 in A minor, Op. 7. This work opens quietly with a dirge-like duet from the two violins. Soon cello and viola join in. The textures are rich, the tonality indeterminate. Soon the cello introduces powerful bow strokes, which introduce a viola solo, beautifully played here by Geraldine Walther. Then the cello offers a flowing passage, gorgeously played by András Fejér. Now the two violins reprise the opening dirge-like passage, and all four instruments take up this motif, bringing it to a climax. Without a pause, the second movement begins, a lively Allegretto. Here András Fejér’s cello offers a fair amount of pizzicato accompaniment to the viola and the two violins. The third and final movement opens with the cello, which is answered by a soaring passage from the first violin. Here Bartók plays off the low tonality of the cello against the ethereally high tonality of the violin. Next we hear fleeting suggestions of Hungarian folk songs collected by Bartók. A vigorous dance ensues, and the work builds to a tumultuous conclusion. The sheer vitality combined with exquisite musicianship marked this wonderful performance of Bartók’s Quartet No. 1 by the Takács Quartet. 

After intermission, the Takács Quartet retunred to perform Edvard Grieg’s String Quartet No. 1 in G minor, Op. 27. This work is rarely performed, and I for one had never heard it. Little about it impressed me through the opening movements. It was all very graceful, though almost orchestral in its big sound. But there was nothing, not a single melody, you could latch onto and hold in your memory. However, towards the end of this work things picked up considerably. András Fejér suddenly had dramatc tremolos to 

play, and he played them vigorously and repeatedly, while the other instruments embroidered lyrical passages around and against Fejér’s tremolos. This was exciting music. And it almost made the earlier doldrums worthwhile, though I can’t say I’m eager to hear this first Grieg Quartet again soon. Nonetheless, I am grateful to the Takács Quartet for offering us this rarely heard work by a major composer. All told, this was a well-balanced program, elegantly conceived and beautifully performed by the Takács Quartet.