Melbourne Age 

Author: Clive O'Donnell.


Elisabeth Murdoch Hall, Melbourne Recital Centre

August 12 


Welcome again to the Takacs people, showing us all how it's done. Appearing for Musica Viva, the ensemble got down to business on Saturday night with a gripping account of Haydn's last F Major string quartet.


Here was a performance to keep you involved through its intellectual focus and energy, a demonstration of non-theatrical collegiality, the whole delivered with bracing elasticity where interpolated slight hesitations and pauses gave extra character to the work's innate fluency.

Author: Edward Sava-Segal


In their second appearance last week in the Zankel Hall, the Takács Quartet selected a non-adventurous program including three works, each from a different century. What made this performance outstanding, was not only the immaculate technique displayed and the cohesiveness of the ensemble, that everyone seems to be taking for granted, but the interpreters’ ability to bring forward and shed new light on details one might have ignored even in these relatively frequently performed works.

Takács Quartet goes to the heights with Beethoven

By Andrew L. Pincus, Special to The Eagle


LENOX — Haydn invented the string quartet form, Beethoven who studied briefly with Haydn, went beyond      
the old man and everybody else in development of the form and content. To hear a fine performance of a late Beethoven quartet or sonata is to connect to the divine, whoever or whatever the divine may be for you.

Intentionally or unintentionally, the Takács Quartet made the point at Tanglewood on Wednesday night, playing Haydn's Opus 20, No. 4, and following it with Beethoven's Opus 130. The deeply immersing performances passed up opportunities for dramatics in favor of refinement of tone, ensemble and expression. The inner drama of the music spoke for itself.

The Times
by Geoff Brown
May 17, 2017

There may be more medically precise quartets, but I’d plump for Takács’s fire any day over performances laid on a surgical slab


There’s nothing special about the way the Takács Quartet programme Beethoven’s string quartets. An early one, a middle one, a late one: and voilà, home and dry. But is there anything routine about their playing? Absolutely not. Often it takes just the first notes — and Beethoven’s openings are famously arresting — for the audience’s heart to leap.

South China Morning Post
by Martin Lim
September 24, 2016

Unaffected playing gives voice to the stark differences in works from composer’s early, middle and late periods while also emphasising Beethoven’s unifying musical vision

Through four decades of music-making, the Takács Quartet have shown that focusing on the works of a single composer can reveal as much about the players as the music.

The quartet’s initial Bartók cycle in the mid-1980s championed the composer as a fellow Hungarian nationalist. Returning to the same works 15 years later, and with the British-born Edward Dusinberre having replaced founding first violinist Gabor Takács-Nagy, the quartet presented the composer as a well-travelled modernist.

The Straits Times
September 19, 2016

Takács Quartet Plays Beethoven
Yong Siew Toh Conservatory Concert Hall/Last Friday

It is no secret that Beethoven's string quartets are hardly performed on concert stages here.

Over-reverence and trepidation on the part of musicians account for this and audiences here are the poorer as a result. So it was a treat to witness an evening of Beethoven quartets performed by the world- renowned Takacs Quartet.

Formed in 1975 by four Hungarian students in Budapest, it is now based in Boulder, Colorado, with two of the original members still performing. The interpretation of Beethoven's 16 string quartets is the bedrock of its repertoire and the three quartets performed come from the three distinct periods of composition in the German composer's career.

Page 1 of 4

© 2018 Takács Quartet