The performances are beautiful, with the quartet shifting effortlessly from smooth, almost glassy textures to violent paroxysms. The Bach fugue that opens the program (Mozart's arrangement is used, which works well with the overall concept) sets a meditative space, and the Shostakovich, edgy and violent, and the Beethoven, mysteriously lyrical, form a compelling pair. Sample the Beethoven slow movement to hear the silent, spacious acoustic treatment given the Reitstadel Neumarkt by the ECM engineering staff, who have outdone themselves here. One awaits with pleasure future releases in the series.
James Manheim, All Music
Dreimal das Es als Tonika – und dreimal famoses Quartettspiel: Das Danish String Quartet erweist sich als Meisterensemble mit seinem Konzeptalbum ‚Prism 1‘, der Eröffnung einer Serie, bei der eine Bach-Fuge und ein spätes Beethoven-Quartett jeweils ein weiteres Werk umschließen. Großartig, wie ausgewogen und klar, dynamisch differenziert und sauber die vier die Notentexte auffächern; […] Und in Beethovens ‚Opus 127‘ vereinen sich nicht nur im großen Adagio Innigkeit und markante Rhythmik zu einer Lesart, so konturiert und klar wie ein Bergkristall.
Walter Weidringer, Crescendo
Ganz abgesehen vom durchaus spannenden Konzept der Reihe, aus dem Auftakt, Beethovens Es-Dur-Quartett op.127, machen die vier Jungs aus Dänemark ein Versprechen für die Zukunft. Sie mögen sich im Beiheft immer noch als eine Art Boygroup sehen, wenn auch nicht mehr ganz so jung. An musikalischer Reife sind sie weit darüber hinaus, musizieren mit einer fantastischen Mischung aus Wildheit und Disziplin, Klangschönheit und Expressivität, Versunkenheit und Extrovertiertheit. Das kann ein sehr spannender später Beethoven werden.
Oswald Beaujean, Bayerischer Rundfunk
The playing and interpretation do Beethoven proud. The key-related Bach-Mozart Fugue and Shostakovich’s 15th Quartet (1974) come off equally well, the latter having been described elsewhere as a meditation on life (and not always that introspective), and while the present programming context will be stimulating for a handful of visits, thereafter the performances will need to stand-alone among their various rivals. They should do well. Annotations for the present release, which is the first in a series called ‘Prism’ (‘late’ Beethoven plus a contemporary work), are wonderfully insightful. A bold and satisfying release.
Rob Cowan, Classical Ear
These players perform Bach’s Fugue BWV876 with intelligence and sophistication, their relaxed, intuitive approach to texture, sonority and phrasing allowing contrapuntal transparency. Their powerfully characterized account of Beethoven’s op.127 focuses on the slow movement’s moving variations, expressively realized, but their first movement is pleasingly paced, with notation scrupulously observed and sonorities skilfully blended, and they invest the jaunty scherzo with suitably rhythmic dynamism. […] The recording is well balanced, the acoustic providing both ambience and intimacy.
Robin Stowell, The Strad
Während die Fuge sehr klassisch und zurückhaltend gespielt wird, erklingt Shostakovich umso aufgewühlter und ekstatischer. Dabei gewährleisten die vier Musiker natürlich bei allem Engagement eine handwerklich außerordentlich gelungene Darbietung, die es mit jedem qualitativ hochwertigen Quartett aufnehmen kann. Das Es-Dur Quartett op. 127 von Beethoven wird dann wieder relativ behutsam und ausgewogen dargestellt. Diese wohlklingende Deutung wirft ein dezenteres, aber ebenso spannendes Licht auf dieses Werk, als es bei anderen Ensembles der Fall ist. Wieder einmal könnte man meinen, dass junge Künstler ein Werk befreit vom Ballast der Aufführungsgeschichte präsentieren. Das kann schief gehen, oder auch, wie hier, sehr gut.
Uwe Krusch, Pizzicato
The whole approach invites active, committed listening, from the wistful introspection of the Shostakovich to the extended, dazzling complexities of the Beethoven. The group plays with virtuosity, intensity and tenderness. With notes by the quartet and writer Paul Griffiths, and photographs of manuscript pages from the works in question, this is a thoughtful entity.
Fiona Maddocks, The Observer
These players perform Bach’s Fugue BWV876 with intelligence and sophistication, their relaxed, intuitive approach to texture, sonority and phrasing allowing contrapuntal transparency. Their powerfully characterized account of Beethoven’s op.127 focuses on the slow movement’s moving variations, expressively realized, but their first movement is pleasingly paced, with notation scrupulously observed and sonorities skilfully blended, and they invest the jaunty scherzo with suitably rhythmic dynamism. […] The six unsettling Adagio movements of Shostakovich’s death-ridden, valedictory op.144 are realized with intensity and wide-ranging instrumental colour, from the sombre, contemplative Elegy, through the Serenade’s strikingly characterised anguish and ironic waltz to the Intermezzo, its violin cadenza powerfully delivered by Rune Tonsgaard Sørensen. The impressionistic Nocturne and the initially impassioned Funeral March, punctuated by striking solos, lead to an Epilogue of reminiscences played with an unusual understanding, sympathy and feeling. The recording is well balanced, the acoustic providing both ambience and intimacy.
Robin Stowell, The Strad
When the Danish String Quartet first encountered late Beethoven it felt to them (as they explain in the booklet) ‘as if it had fallen down from outer space onto our music stands’. This new release is an attempt to recapture that sense of strangeness, the idea being to use Beethoven as a ‘prism’ through which to revisit earlier and later music. Here, the Quartet Op 127 refracts a Bach fugue and Shostakovich’s Quartet No 15, with the tonality of E flat as the common element. […] while the playing is exquisitely refined, this performance never loses its sense of rhythmic danger. These aren’t warm interpretations; they repel as readily as they attract. But they’re thought-provoking, and often startingly beautiful.
Richard Bratby, Gramophone
Poise, elegant restraint and an exacting adherence to the scores are the essence of this superb recording. Bach’s Fugue is played with appropriate reserve as a prelude to the Shostakovich. It could easily be more playful, but that’s not what this programme is about. Shostakovich’s String Quartet No. 15 is a serious prospect, and the Danish Quartet plays with hardly any vibrato, the long opening Elegy a moment in time suspended to a kind of infinity. Lack of vibrato should not be confused with a lack of expression here however. This playing has a purity that takes us deeply into Shostakovich’s melancholy mood, and the subtle touches of vibrato we are given heighten this effect while delivering the essence of the music rather than showcasing the players. […] with an intriguing and impressively effective concept and such superlative performances this Prism series looks like becoming one every string quartet collector should covet.
Dominy Clements, Music Web
Dans le ‘Quatuor en mi bémol mineur‘ de Chostakovitch, […] le compositeur réussit à donner à un même tempo lent des inflexions trés diverses, sur lesquelles plane un sentiment panique de mort. A la favuer d’une grande precision d’archet et d’une volonté d’introspection, les Danois s’éloignent de l‘insoutenable désespoir des Quatuors Beethoven, Borodine et Prazak. Moins endeuillée, leur lecture trouvé sa force dans l’interrrogation. La polyphonie, la variation et de fortes oppositions rythmiques dominent le parcours de l’ ‘Opus 127’ beethovénien. […] nos musiciens, par leur style châtié et très concentrè, font bien ressentir l’èvolution de l’harmonie. Leur acuité sonore, leur densité implacable et leur approfondissement rendent justice aussi bien aux speculations rythmiques du scherzo qu’à l’élan et á la parfait èconomie d’effets du finale.
Patrick Szersnovicz, Diapason
Transcite par Mozart, la courte ‘Fugue BWV 867’ introduit ce programme avec une luminosité qui laisse vite place à la nuit du ‘Quatuor no. 15’ de Chostakovitch, sorte de journal intime èçrit par un homme confronté aux affres de la maladie et à l’imminence de la mort. Les Danois exaltent toute la profondeurt et la paralysie èmotionnelle de cette œuvre au moyen d’un jeu minimaliste, d’une tension contenue qui jamais ne retombe,avec des cordes au timbre plein mais pas rond, tantôt terreux tantôt transparent. Ce Chostakovitch glaçant, gris et désespéré, est soulagé par la promessed’une aurore dans le ‘Quatuor no. 12’ de Beethoven, très chambriste, organique, à la sonorité mate et aux longues phrases bien soutenues. […] la proposition reste superbe de bout en bout.
Fabienne Bouvet, Classica