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RE: I can answer your query...

Hey -thanks for your directness. So here I am without an Auden wit
But still abhors the place where critics sit.

An abridged reply: A view of the Emerson and the Tokyo as groups that never risk anything both on the concert stage and in their recordings, of Beethoven. Both are in in the academic tradition of the Julliard Quartet and the Julliard school. Fairly sterile. Every performance neatly packaged. I admire the Takacs greatly but the extroverted and dynamic playing of Opus 18 through the Opus 59's do not work with the late quartets. I do not know the Vermeer.
Two other groups that get the dynamics right and almost the spirituality is the Lasalle and the Smetana, The Amadeaus Quartet has the problem of the first violin in the late quartets(gypsy sound) as to make them unacceptable.
Dynamics and spirituality is the point of Opus 132 not a metronomic calculation that aims at bringing the architecture together.
Worse than even intonation problems, the Concord actually plays out of tune.So what! But so does the Busch(could be the transfers).
The Concord Quartet understands the concept of dissonance and the rhythmical tonal possibilities and textures that the score allows and encourages. The problem of the first violinist did not show up on the Magneplanar speakers but does risk 'schmalz'
So we disagree I have heard four of the groups you mentioned live in NYC in their Beethoven Cycles.(passed on the Vermeer.) The live 'crazed' playing of the Concord(with the mad violist) offered me the most . Hardly the Quartet Italiano in its perfection and elegance but then nothing is.
This is not a rebuttal but only another opinion. Hope some others on the site weigh in. Cheers!



























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