Takács Quartet | Classical review | Music

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But any opportunity to see even a part of this exceptional musical event should be seized upon. This is chamber-music playing of overwhelming intensity, insight and intelligence, simply the best I have ever heard in concert.</p><p>Early, middle-period and late quartets make up each of the programmes, with the first two of the Op 18 set and the B flat quartet Op 130 and the C sharp minor Op 131 framing the Op 95 and Op 74 works respectively. There is nothing reverential about the Takács' approach to these peaks of the quartet repertoire; their playing is only concerned with extracting the truth of the music as they perceive it and communicating it as articulately as they can. There are more svelte, richer-toned quartets around, but none whose sense of ensemble and intonation is so immaculately instinctive, whose range of colour is more bewilderingly varied, whose phrasing is more expressively potent.</p><p>In the wonderfully detailed and warm acoustic of Norwich's John Innes Centre, each of the four players brought his or her own ideas to the performance, and each performance became a journey of exploration for the audience, not only to rediscover the astonishing variety of Beethoven's invention in these works, but also some of the multitude of ways of interpreting it.</p><p>There's simply no other quartet around today that comes within touching distance of the Takács.</p><p></p><p>At Queen Elizabeth Hall, London (0844 847 9910), tonight, and Assembly Rooms, Bath (01225 463362), Friday and Saturday.</p> </div> </div> <div id="related"> <ul id="article-toolbox-side"> <li class="printable"><a 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Takács Quartet | Classical review | Music | The Guardian