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.

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© 2018 Takács Quartet